PG Music Home Forums General Discussion Recording, Mixing, Performance and Production 6 recording mistakes you want to avoid

This was in the latest BMI newsletter and has some really good advice in it. One, two, three and five are good ones, but all 6 are important things that everyone should pay attention too and attempt to heed.

Over the years whenever one of my favorite iconic recordings would come on the radio, invariably I’d wonder, “Why can’t my stuff sound as good as this?” Aside from the obvious pro-studio advantages, those responsible for capturing these exquisite tracks not only knew what to do in the studio, they also knew what not to do—which, from my standpoint, is at least as important.

Hence, the following is a partial list of some of the most common errors that, if left unchecked, can potentially de-rail the recording process. Rather than attempting to “fix in the mix,” avoiding these production pitfalls will go a long way towards ensuring a satisfactory session every time out.

Too many takes = big mistake. You nailed the vocal on Take 1, but you insisted you could do it better…and there you are, 24 takes later, still trying. Been there? We all have—enough to know that chasing the perfect take is often an exercise in futility. Even if there’s a glitch or two, the spontaneity of those first few attempts is preferable to a fatigued, fussed-over performance (and besides, a punch-in or two will take care of those little miscues back on Take 1).

Less tracks, more music. Did you know that the majority of the Beatles’ catalogue was conceived using just four tracks? And that was high tech compared to recordings of the 1940s, which were cut directly to a rotating wax disc that had to be discarded if someone dared make a mistake. While having unlimited tracking capacity courtesy of ProTools and the like doesn’t necessarily make us lesser musicians, the temptation to use all that extra space can result in an inferior product if you’re not careful. So even though you could do umpteen takes of the same guitar part with the goal of editing together a single flawless master, why bother? Rather than filling up a production with layer upon layer of instrumental overlays, having a few passages with nothing but drums, bass and vocal can often be more ear-catching than a big wall of sonic clutter. Point being: there’s something to be said for the discipline that was once required when all you had was some basic machinery and a limited amount of time to get the job done.

Stay tuned. While there are those who believe that a great engineer can make even a mediocre set of tracks sound sensational, I look at it the other way—if the performances are top notch, even a middling engineer can get it right (I should know). Hence, a successful production begins with good-sounding, properly tuned instruments (and, of course, a competent set of players), so that all you have to do is put up a few mics, set the levels and go. Re-stringing guitars and basses prior to a session is always a good idea (since new strings will be brighter and cleaner-sounding). Ditto for percussion—having well-tuned, sufficiently tight heads is essential for getting a respectable drum sound. Be sure to check for any cracks on the bass drum near where the beater strikes, and consider replacing the head if need be.

Stop, what’s that sound? I once found this big old clock at the dump and, without thinking, stuck it in on the wall of the main recording room, not realizing it had an unusually loud ticking sound—which, with the help of a few sensitive mics, became quite obvious during the fade of an otherwise flawless tracking session (much to the displeasure of the artist). Dealing with an ambient noisemaker isn’t always as simple as bringing the culprit back to the dump from whence it came – a nearby furnace, a flushing toilet or adjacent foot traffic can easily find their way onto your recording, particularly when using compressors or other signal boosters. To keep these household sounds at bay, try using directional mics (including dynamics like a Shure SM57, for instance) pointed away from the offending sound source; or, if using a condenser mic, consider adding a noise gate to the signal chain (or better yet, turn off the heat and lock the bathroom until you’re done recording).

Compress less. A few weeks ago I heard a song on the radio that was recently recorded in my studio, and what should have been a joyful three minutes quickly turned embarrassing when I realized that my penchant for using thick compression when mixing—combined with the station’s own broadcast compression—had resulted in one big squashed mess. It’s a common mistake: when making a mix at home, we tend to want our songs to sound like they’re on the radio right there, and there’s nothing like a nice fat compressor/limiter to get you that on-air sheen. But if real radio is your ultimate goal, be sure to keep the compression (and other post-production enhancements) to a minimum when mixing.

Be prepared. Years ago I argued in favor of putting away all cables, microphones and other equipment at the end of each session in order to keep your space clutter-free and avoid potential accidents. But what if you suddenly get a creative urge the following evening? By the time you’re done setting everything up all over again, that kernel of an idea could be gone for good. As a result, I’ve since decided that it’s better to keep mics, cables, mix levels, etc., right where they are so you can be in a perpetual state of record-readiness. Not that you should completely throw caution to the wind—to prevent mics from taking a fatal plunge, use plastic clips to hold wiring in place on boom stands, as well as gaffer tape to secure all cables to the floor (Gorilla Tape works great for this purpose, by the way). While you’re at it, make sure everything is in proper working order—check all cables, mics and instruments for buzzes and other extraneous noises that can create unwanted interruptions in the middle of a session. If you have any equipment that is particularly sensitive to nearby electronic impulses, consider getting a power-conditioning unit (PCU), which will help prevent sudden flare-ups and other stray noises from invading your otherwise pristine tracks.

All good advice but number one is the most important. YMMV.

Good advice, especially the first two.

I've learned the hard way that I should always keep my first take when recording a guitar solo, the first usually has the best feel. Doesn't mean you shouldn't try and do better, but make sure you keep the first take, that is often the one I'll end up using.

Too many tracks is a trap that is very easy to fall into when you have a program like BIAB/Realband. I've done it myself, and I hear it over on the showcase too. More often than not, less is more.

Thanks for the post. Good info!

Less tracks, more music falls right in line with your signature tagline, Herb.

Good advice Herb.



Regards,


Bob

Excellent article, Herb. The reference to the Beatles production and engineering is especially noteworthy. Initially, their producer, George Martin, had only TWO tracks to work with. By '63 he had four tracks to work with and the genius he applied to such a limitation is detailed in his book "All You Need Is Ears".

Chapter 8, "Layering the Cake" goes into detail about the nuts and bolts of the recording process he used. It's a pretty amazing documentary that every aspiring engineer and producer should read. In Martin's case, less HAD to be MORE...it was all he had. There are tons of other tips and tricks and gear he used, presented in the book. Also a treasure trove of Beatles trivia and minutiae. Check it out.

~Rob

Amazon: ISBN 978-0312114824 $14.99
All You Need Is Ears - George Martin

Great post. Compress less and Too many takes = big mistake are key, IMO.

Number 2 is why I enjoy BIAB. I can rely on great musicians around me. Luckily, ironically, I'm too lazy to do multiple takes. Number 4 is my Hong Kong nightmare. Howling dogs, home handymen and insanely noisy neighbours. DI is essential.

Here's my point by point take on this article.

Too many takes Quite literally, the majority of my live tracks are one or two takes.... with punches to fix the big nits. I might track a lead vox 2 or 3 times but I delete the previous one. Layered and harmony vox are 99% of the time one take and done. Same with guitars. Very little in the way of multiple takes. I rehearse before I press record.

Less tracks, more music. Again, the majority of my projects are between 8 to 12 tracks. Occasionally I will exceed that and get into the upper teens, but even then, it's simply because I maybe added or changed a guitar track solo and rather than record it into an existing track where the space exists, I just add another track.

Stay tuned. One of my pet peeves. I can hear notes that are not quite in tune. It's like fingernails on the chalkboard to my ears. Always tune your instrument. Always sing in tune or use Melodyne to fix it. Nothing chaps my rear end like a guitar that's out of tune or a singer flat or sharp of the pitch.


Stop, what’s that sound? I don't sweat this one too much. But I do have the occasional yard maint guy running his weed whacker, or the truck, or the train, or the barking dog that interrupts a session. When the guy across the street is running the lawnmower, I find something else to work on that doesn't require a mic.

Compress less. I use as little compression as I need. Sometimes not enough but I'd rather error on the lesser side of this one.

Be prepared. Pffftt. It takes all of 60 seconds to turn on the DAW and it's ready to roll. Due to the lean and mean setup I have here, as soon as the system is booted, we're ready to record. It's a dedicated DAW and everything stays connected all the time. Boot time and now that BB loads in about 2 seconds.... this is a no brainer.

And that's how we roll around here.

Great post Herb, I was dissapointed with my last mastering efforts compared to my first two songs.

Now on reflection,I messed about too long tweaking & adding too much of this and that.

Less is definatley more?
Must learn and move on
Paul

Great post Herb. I unfortunately see myself in all six points. I guess realization can be the place to start.

Jeff

indeed!

That's a great set of principles, Herb. Thanks for taking the time to post them.

Far as the Beatles go, in those days they called it reduction engineering, or something close to that. Today we call it bounce or render to new track.
Did the Beatles invent it? I bet they did.
There are a things about bounce we still can take from those principles.
We can adjust levels and effects as we reduce to one track until we get something we like. That way, we are still keeping it manageable, keeping it simple. My rig is eight track, two inputs, vocal and instrument, set up to
be two sets of four tracks. So, even today, four tracks rules.

My money is on Les Paul.

well why don't you practice what you preach...fella

C'mon I've listened to your posts. You serious or having a laugh .

P[lease

Who are you talking too?

Great post, Herb. The good ol' KISS principle applies once again. It can be hard to achieve when there are so many toys in the nursery.

Um... Big John. Play nice.

The clock tip is pretty funny. I have a song that highlighted bleed of a click track (even though there were no open mics) that has haunted me for several years. I am finally getting around to re-recording it.

It's not noticeable until the fade at the end of the song, but there it is: tick tock tock tock tick tock tock tock gently whispering in the fade.

It was an issue with the PreSonus Firebox - after I checked the forums, I found out it was pretty common on those units.

Herb, like you, most of my takes are 1st or 2nd - mainly because most of my songs are written and recorded during February Album Writing Month.

And too many tracks, also not an issue writing and recording 14 songs in a month. But, I think this is a downfall of the ease of adding 'just one more track' in BIAB - too many people trying to use too many instruments in their arrangements.