RECORDING III - POST-PRODUCTION
By huskybones
We're down to the last few steps in the recording process. This will bring to a close my series on recording and next time we'll cover something new. It's so new that I don't even know what it is yet. Anyway, the task list looks something like this; mixing, mastering, and replication.
MIXING
The mixing process is basically like creating a sculpture. In sculpting, you start with a block of raw material (your basic tracks) and then you chip away, smooth out, and define different areas to reveal what's inside. In addition to creating your work of art, the other constraint is the total amount of signal that can be put on to tape. There's a "doorway", if you will, that the total volume of your tracks has to fit through. As you adjust each instrument's tone, to give it it's own sonic space, the total volume has to stay at a level that will "fit through the door". For example, a bass guitar and a bass drum might be given their own sonic space by using different EQ settings, effects, compressors, or volume levels in combination, not by turning them both up to 11.
Other tips on the mix:
If you listen to your
mixdown on a pair of small speakers, like a boombox, you'll get a more
accurate representation of how most people will hear it.
High volumes will
cause ear fatigue, and this won't help your critical listening skills.
If your mix sounds good and you can hear all the instruments at a low
volume and on small speakers, then it will sound good anywhere.
Bring a CD that you know and love to the studio to reference. Listen
to it through their speakers. This will give you an idea of how things
sound in that environment so that you can make allowances for the difference.
When listening to a mix, try to hear the whole song and not just your
part. Mixing is a fine act of balance between different tones and parts.
Sometimes the way to add one thing is to take away something else. This
is another place where your designated leader will be needed. You've heard
the old phrase, "Too many cooks, spoil the brew." Don't have the whole
band in the room asking the engineer to turn him/her up. Remember also
that the person doing the mixing has a special set of listening and technical
skills that they have practiced using, so let them get the rough mix ready
and you can tweak it from there.
Here are some other tips from "37 Recording Tips":
Decide on the final format of final mixes: DAT, one-off CD, PMCD, reel
to reel, or 1630. Use the format that is most practical and economical
for you.
Sometimes it's good to take a day off and come back to listen; ears don't
last very long in the studio! *Count on and budget in unforeseen delays.
Always make a safety DAT, to safeguard your recording investment should
your original master tape get damaged.
With regard to your final format, ask the company that will be making your CD's what they require.
MASTERING
The mastering process allows you to digitally smooth out your sculpture. You can put your songs in the desired order, adjust the amount of space in between songs, and make sure that each song starts cleanly and fades out properly. Unwanted pop's and crackles can be removed. The song can even be edited to add a chorus, insert the best version of a particular riff, or splice two different takes of a song together. The other function of mastering is called leveling and it means making sure that no part of the recording is louder than another, unless it's supposed to be.
For the basic mastering tasks mentioned above, the cost is relatively low. Many studios will have this capability and can do a good job. Ask around to find out who's got the reputation for doing good work.
More advanced mastering can be done by places that specialize in it called Mastering Houses. Here you'll find people who do lots of this kind of work. They have specialized equipment for it and as a result the cost is more. However the kinds of subtle improvements that can be made may be what you're looking for.
REPLICATION
This is where you send off your mixed down and mastered tape to have CD's or tapes made. The manufacturer will most likely include in the package one CD for you to review. Listen carefully to it over a few days, this is your last chance to make changes.
There are a couple of final things to consider; Barcoding and artwork.
Retail stores use the little barcode thing on products to track the amount and kind of what gets sold. I spoke to someone from Zia records and he said that they will put their own consignment sticker over your barcode anyway so it wouldn't matter there. However other stores may not do this, then you would need to have your own. The cost is about $350, and since the process is not that easy I'll just give you the number. Call UCC (Universal Code Council) 1-800-543-8137 and ask them how to secure a barcode for your CD.
Another option is that some CD manufacturers will offer this as part of your package. There will be an associated fee of course and the barcode won't be yours to use freely, but this may still be a good option for you. I'm going to do some more research on the barcode issue in the future so stay tuned.
Artwork is one of the last but by no means least steps in the process. Many CD manufacturers offer art design and reproduction as an optional part of the package. You may want to shop local graphic artists and get quotes as well. Ask other musicians about their experiences good and bad. One suggestion here is that you should try to be as thorough as possible when describing what you want the art to look like. This would include colors, sketches, images, and photos. The more you can outline what you want, the closer you'll get to it. If you don't know exactly what you want, then get with the artist and sketch it out. Don't assume that because this is one of the last steps, that it's not important or that it will take care of itself. Imagine your CD sitting on a shelf next to hundreds of others. How important is that artwork now? You've worked too hard to blow it at the end.
That's all folks. Thanks again to all at Third Eye Studio 878-9614, Gray Room Recording 931-8622 , Disc Makers 1-800-731-8009 and Zia Records 866-7867. Break a friggin' leg.
-hb
By huskybones
We're down to the last few steps in the recording process. This will bring to a close my series on recording and next time we'll cover something new. It's so new that I don't even know what it is yet. Anyway, the task list looks something like this; mixing, mastering, and replication.
MIXING
The mixing process is basically like creating a sculpture. In sculpting, you start with a block of raw material (your basic tracks) and then you chip away, smooth out, and define different areas to reveal what's inside. In addition to creating your work of art, the other constraint is the total amount of signal that can be put on to tape. There's a "doorway", if you will, that the total volume of your tracks has to fit through. As you adjust each instrument's tone, to give it it's own sonic space, the total volume has to stay at a level that will "fit through the door". For example, a bass guitar and a bass drum might be given their own sonic space by using different EQ settings, effects, compressors, or volume levels in combination, not by turning them both up to 11.
Other tips on the mix:
If you listen to your
mixdown on a pair of small speakers, like a boombox, you'll get a more
accurate representation of how most people will hear it.High volumes will
cause ear fatigue, and this won't help your critical listening skills.
If your mix sounds good and you can hear all the instruments at a low
volume and on small speakers, then it will sound good anywhere.Bring a CD that you know and love to the studio to reference. Listen
to it through their speakers. This will give you an idea of how things
sound in that environment so that you can make allowances for the difference.When listening to a mix, try to hear the whole song and not just your
part. Mixing is a fine act of balance between different tones and parts.
Sometimes the way to add one thing is to take away something else. This
is another place where your designated leader will be needed. You've heard
the old phrase, "Too many cooks, spoil the brew." Don't have the whole
band in the room asking the engineer to turn him/her up. Remember also
that the person doing the mixing has a special set of listening and technical
skills that they have practiced using, so let them get the rough mix ready
and you can tweak it from there. Here are some other tips from "37 Recording Tips":Decide on the final format of final mixes: DAT, one-off CD, PMCD, reel
to reel, or 1630. Use the format that is most practical and economical
for you.Sometimes it's good to take a day off and come back to listen; ears don't
last very long in the studio! *Count on and budget in unforeseen delays.Always make a safety DAT, to safeguard your recording investment should
your original master tape get damaged.With regard to your final format, ask the company that will be making your CD's what they require.
MASTERING
The mastering process allows you to digitally smooth out your sculpture. You can put your songs in the desired order, adjust the amount of space in between songs, and make sure that each song starts cleanly and fades out properly. Unwanted pop's and crackles can be removed. The song can even be edited to add a chorus, insert the best version of a particular riff, or splice two different takes of a song together. The other function of mastering is called leveling and it means making sure that no part of the recording is louder than another, unless it's supposed to be.
For the basic mastering tasks mentioned above, the cost is relatively low. Many studios will have this capability and can do a good job. Ask around to find out who's got the reputation for doing good work.
More advanced mastering can be done by places that specialize in it called Mastering Houses. Here you'll find people who do lots of this kind of work. They have specialized equipment for it and as a result the cost is more. However the kinds of subtle improvements that can be made may be what you're looking for.
REPLICATION
This is where you send off your mixed down and mastered tape to have CD's or tapes made. The manufacturer will most likely include in the package one CD for you to review. Listen carefully to it over a few days, this is your last chance to make changes.
There are a couple of final things to consider; Barcoding and artwork.
Retail stores use the little barcode thing on products to track the amount and kind of what gets sold. I spoke to someone from Zia records and he said that they will put their own consignment sticker over your barcode anyway so it wouldn't matter there. However other stores may not do this, then you would need to have your own. The cost is about $350, and since the process is not that easy I'll just give you the number. Call UCC (Universal Code Council) 1-800-543-8137 and ask them how to secure a barcode for your CD.
Another option is that some CD manufacturers will offer this as part of your package. There will be an associated fee of course and the barcode won't be yours to use freely, but this may still be a good option for you. I'm going to do some more research on the barcode issue in the future so stay tuned.
Artwork is one of the last but by no means least steps in the process. Many CD manufacturers offer art design and reproduction as an optional part of the package. You may want to shop local graphic artists and get quotes as well. Ask other musicians about their experiences good and bad. One suggestion here is that you should try to be as thorough as possible when describing what you want the art to look like. This would include colors, sketches, images, and photos. The more you can outline what you want, the closer you'll get to it. If you don't know exactly what you want, then get with the artist and sketch it out. Don't assume that because this is one of the last steps, that it's not important or that it will take care of itself. Imagine your CD sitting on a shelf next to hundreds of others. How important is that artwork now? You've worked too hard to blow it at the end.
That's all folks. Thanks again to all at Third Eye Studio 878-9614, Gray Room Recording 931-8622 , Disc Makers 1-800-731-8009 and Zia Records 866-7867. Break a friggin' leg.
-hb
