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Electronic Musician June 1997
The ABCs of Recording
by Brian Knave

Follow these guidelines so your mixes don't turn into alphabet soup.
Audition microphones carefully. This is where the signal starts, so it's arguably the most critical stage in the whole process of recording. Picking the right mic for the job and positioning it for the best sound are two of the most important skills an engineer can master. Keep an open mind and open ears. Don't presume to know which is the right mic; rather, audition a variety for each source sound. You'll know that you've hit on the right combination of mic and mic placement when the recorded sound leaves nothing to be desired. Then, when it comes time to mix, there's precious little to do but raise the fader.

Back up your work. This rule applies to analog, DAT, and MDM media as well as floppy disks and hard-drive data. Some people say anything done on a computer doesn't exist until it has been saved in three separate places. When you lose your work to a hard drive that has inexplicably died, you'll know what they mean. If you don't have two MDMs or DAT machines, occasionally rent or borrow a second machine and make safety copies of important tapes (or save from DAT to MDM or vice versa). It may be a hassle, but it's not nearly as painful as losing great tracks forever.

Control unwieldy dynamics with compression. Used musically, a compressor can be a recordist's best friend. Sure, it's possible to make good recordings without compression, and certain styles of music (e.g., classical or traditional jazz) may fare better without it. But you'd be hard-pressed to find a song on anyone's Top 40 list that didn't use compression on at least the lead-vocal track. Compressors are ubiquitous for a good reason: they make tracks "pop." (For information on using compressors, see "The Sophisticated Mix" in the April 1996 and "Recording Musician: Ready, Set, Compress!" in the May 1997 EM.)

De-ess vocal tracks to minimize sibilance. Of course, it's always best to strive for low-sibilance recordings (mic selection and placement, pop filters, and windscreens can help). But a time will come when an otherwise superb take is marred by an ugly sibilant or two. That's when a de-esser can save the day. If you don't have a dedicated de-esser, you can improvise one by patching a mult of the vocal signal through a graphic EQ and then into the sidechain input of a compressor. Now dial up a superfast attack time on the compressor, and boost the frequencies on the EQ that you want to diminish. (For more information about using sidechains, see "Recording Musician: Working on the Sidechain Gang" in the July 1996 EM.)

Engage the low-cut filter on your microphone (or console) when recording vocals. Why? Well, unless you're recording a basso profundo, there's little vocal information below 100 Hz anyway; but there may be room rumble and 60-cycle hum. And it's best to filter out that gunk at the earliest point in the signal path.

Fix it in the mix but only as a last resort. That is, always proceed as if you can't fix it in the mix. Sure, you can "doctor" less-than-pristine tracks; but you typically compromise something in the process. That's why it's better to get it right the first time. Scrutinize your work as you go to make sure you've laid down clean, consistent, distortion-free, and in-tune tracks. Fashioning a great mix is challenge enough without the additional task of having to fix a bunch of screw ups. (If, after taking every precaution, you still end up with some lame tracks, check out "Fix It in the Mix" in this issue.)

Go gently into that good studio. Whether it's your space or someone else's, treat it with respect. That means not only the obvious stuff like keeping food and drinks away from consoles and processors but also knowing how the gear is supposed to be used. It's important, for example, to learn the correct sequence of powering up and down, i.e., which units are first on, last off (FOLO) and which are last on, first off (LOFO). There are also protocols for handling tape and other magnetic media (e.g., not putting them next to speaker magnets, magnetized tools, or other sources of electromagnetic fields) as well as for handling ribbon and condenser microphones. Finally, it's important to keep records of equipment usage and implement a regular studio-maintenance program.

Have patience. The adage that everything takes longer than you expect is often doubly true in the studio. In general, audio engineering is better suited to the Zen initiate than the Type A personality. The preferred drink is herbal tea, not coffee.

Isolate noisy gear. This goes for humming CPUs as well as sputtering guitar amps. In the former case, a machine closet may be in order. (For information on machine closets, see "Desktop Musician: Getting Away from It All" in the February 1997 EM.) In the latter, use gobos to isolate the amp from other instrument mics. Or put the noisemaker in another room, if necessary. Take advantage of cardioid mic positioning to minimize leakage, and use noise gates to further isolate the sound.

Junk lame gear. This is no call to throw out hip, vintage equipment but a reminder that good technique can take you only so far. For example, if you've been trying to get a million-dollar vocal sound with a fifty-dollar mic but keep falling short of the mark, it may be time to trade up. Likewise, if your cheapy effects processor is incapable of adding reverb without reams of noise, a new, quieter unit may be long overdue. In the end, first-rate audio requires both good technique and good gear.

Keep the record button ON. This is a fundamental rule in the recording arts. It doesn't matter if the levels are correctly set yet or if the artist says she needs to rehearse first before tracking: anytime you roll tape (or the hard drive) for a rehearsal or to set levels, go ahead and engage the record function. The muse is fleeting. She has a funny habit of visiting on the first pass and then taking the rest of the night off.

Label everything. This includes tapes, disks, discs, and removable cards and cartridges, as well as cables, patch bays, and other studio peripherals. For example, I color-code mic cables and stands (with colored tape) so I can confirm the signal path at a glance, and I label each cable end (using white tape and a felt-tip pen) to make patching a breeze. This helps when it comes to breaking down gear, patching in new equipment, and troubleshooting, too. Also, always use track-designation strips on the console and keep detailed track sheets of all sessions. (For more information on track sheets, see "Recording Musician: Hard Copy" in the November 1995 EM.)

Monitor at various levels. That's because the human ear perceives certain frequencies more critically at specific volume levels. For example, if you set relative mix levels while monitoring solely at high volumes (say, 110 dB), when you turn down the volume, the bass and kick drum will seem wimpy. Conversely, if you set relative levels while monitoring at low volumes only (say, 70 dB), low-frequency information will likely be overpowering when the tracks are played at high volume. Monitoring at various levels helps you find a happy medium.

Nip noise in the bud. The sooner you get rid of it, the better. For example, if you're recording bass guitar direct and the bass player's pickup is buzzing, go ahead and sweep through the high frequencies with a parametric EQ, pinpoint the offending buzz, and kill it before printing to tape. Put down clean tracks from the get go because at mixdown time, a little bit of noise on each track will quickly accumulate into a lot of noise in the mix.

Optimize signal levels. Again, the goal is to minimize noise, and setting proper gain stages is one key step toward achieving that goal. Set each gain stage in the signal path at its optimum signal-to-noise ratio. This is usually around 75 percent of its maximum output, a level that puts the signal well above the noise floor yet still offers ample headroom. (For more information on setting gain stages, see "Recording Musician: Optimum Gain Structure" in the March 1997 EM.)

Punch in with confidence. That is, don't punch in until you're certain you know exactly where to go in and out of the track. Rehearsal is the key. Most pro recorders offer a rehearse function specifically for this purpose as well as an auto-punch mode. The latter is especially useful if you're recording alone, so get acquainted with it. A few tips: downbeats are typically good points for punching in bass-guitar parts. Depending on tempo, try counting sixteenth notes ("one ee and uh, two ee and uh," etc.) and punching in one sixteenth note before the downbeat (i.e., on the "uh"). For acoustic rhythm-guitar parts, try punching at the end of a downstroke just before the next upstroke (e.g., just after "and" and before "uh"). That way, you don't risk marring the downstroke, which is generally more important to the rhythm than the off beat.

Quantize with caution. Nothing spoils a good groove like overquantization. To start with, make a copy of the sequenced track and experiment on that rather than the original. Proceed with low values first, gradually increasing to higher values if necessary. That way, you maintain a more natural feel. Also, try quantizing individual instruments at different values, for example, kick and snare drum at higher values and hi-hats, toms, and cymbals at lower ones (if at all). Avoid quantizing fills and solos altogether. Quantization is the great equalizer; overused, it will make your grooves sound like every other overquantized groove.

Reference your mixes. This is not cheating--it's simply the best way to get perspective on your creations. After all, everything we know in life, we know in relation to something else. So by all means, don't finalize any mix until you've compared it critically to others. Choose the best mixes you can find done with similar instrumentation and in the same genre you're working in. It's not that you're striving to make your mixes sound the same as, say, Steely Dan's or Peter Gabriel's. But by listening closely to theirs (or whoever's), you acquire a context for better hearing what creative choices you've made as well as confidence about why you made them.

Sequence whenever possible. This is not to recommend how you should work or what kind of instrumentation you should use. But if you are using MIDI controllers and sound modules on a particular song and your studio is equipped with a sequencer and sync capabilities, then it's advisable to record those instruments into the sequencer rather than onto tape. Why? There are several reasons. For one, you save audio tracks (which is smart no matter how many tracks you have). But you also preserve audio integrity, because at mixdown, the sounds will be coming fresh from the sound modules rather than from tape (and therefore through fewer circuits, converters, etc.) Finally, of course, sequenced tracks offer far greater editing capabilities than standard, tape-based audio tracks, so they let you maintain the greatest number of creative options until the final mixdown.

Trust your ears. Meters and indicator lights have their place, of course, and should be consulted regularly. But in all things musical, the ear must be the final arbiter. That means if a meter says you've clipped a signal but you don't hear any distortion, it's probably because there is no distortion. Don't re-record a fabulous track just because a red light goes on; rerecord it because it doesn't sound right to you (or because it doesn't knock your socks off). Ditto with equipment manuals. If the instructions tell you never to use the gear in such-and-such a manner, but you do anyway and end up with a sound that blows you away, what are you going to do - erase the track because you disobeyed? Innovation, after all, is not about following the rules; it's about breaking them.

Use clean power. Here's a ground rule if there ever was one (pun intended). In general, clean power means that nothing else is drawing power from the same AC circuit as your gear. In addition, make sure your studio equipment isn't drawing too much power from its circuit. Still another potential - and common - problem is bad grounding. Not only can bad grounding add unwanted noise to your mixes, it can also lead to weird equipment behavior, equipment failure, fire, and electrocution. (For more information on studio power and grounding, see "On Solid Ground," parts 1 and 2, in the September and October 1992 issues of EM. Also, you should consult with a professional electrician who knows about the power requirements specific to audio recording.)

Ventilate your studio. That may be easier said than done, but it's important to do. Humans can go long stretches without lots of things, but air is not one of them. With home studios especially, the goal of constructing a soundproof space typically supersedes the need to make it user friendly. But if there's no flow of fresh air, there will also be no flow of fresh ideas. At the very least, if you can't manage to properly ventilate your studio, remember to throw open the doors every hour or so to replenish the oxygen supply. Your brain will thank you for it, and you'll play better music, too.

Wait until jets, helicopters, and big trucks pass before recording. No matter how "soundproof" you've made your studio, it's doubtful its walls will block the low rumble of these track-spoiling nuisances. Such environmental sounds will be especially noticeable if you're recording with a high-quality condenser mic. For a critical pianissimo passage - say, a solo flute interlude or whispered vocal part - wait and record in the wee hours. By then, the din of civilization will have subsided enough to let you proceed without constant interruption. Silence is golden but may require caffeine.

eXercise tape. This is all but essential for open-reel tape but is a good idea for new DAT and MDM tapes, as well. Simply fast-forward to the end, and then rewind. This precautionary measure assures that the tape is evenly packed on the spool, and it can also help distribute a concentration of particles that may have formed on a particular section of the tape during manufacture.

Yank cables - NOT! When removing cables from patch points (and power cords from electrical outlets), you should pull firmly on the connector, not the cable itself. This would seem a no-brainer, yet I can't tell you how many times I've seen people yank on cables to remove them from patch bays and processors. Audio cables are already susceptible enough to malfunction; yanking on them only hastens their demise.

Zero in on phase problems by testing your mixes in mono. Phase cancellation can occur for a number of reasons, including radical equalization, improper stereo miking, and phase reversals inherent between the inputs and outputs of signal processors. Get in the habit of checking your mixes in mono at various stages in the recording process, especially any time you stereo mic or bring an instrument into the console through two or more input modules (e.g., direct and amplified electric guitar). If summing the channels to mono causes the sound to "collapse," lose frequency content, or in any way sound weird, you probably have a phase problem. In the case of stereo mic phasing, solo each mic to determine which sounds best, and then move the other until the problem disappears. Phase reversals originating internally in equipment can often be resolved simply by locating the problematic box and reversing its phase.