There’s a fear in the recording community of track bleed. People can be meticulous about making sure all the instruments are isolated, so they don’t bleed on one another. They’re afraid that all this bleed will degrade the sound of the record, or lock them into a position that keeps them from having options later.

I love bleed. I think track bleed actually enhances the sound, as to me it’s all about what happens when the parts come together, not really the micro-focused aspect of the individual parts themselves. It’s also about the human element of recording, and track bleed helps create a sound that has more of a human feel.

But it’s all very subtle. Realistically, track bleed is very much a non-issue. Honestly when all is finished, the listener is never going to know the vocal got on the piano track a little bit, and the drum mics also picked up the guitar. All that is a layer of production that really just creates a subconscious texture.

You would be surprised what you can get away with – across all genres, and in most situations.

If the individual tracks of your recording are the single bricks which make up the house, bleed is the mortar which holds the recording together.

It’s human, it’s real, it’s organic, and it’s warm. Take advantage of it.

You know what really works? To walk away. Get away from the problem and, ironically, you will find the solution.

Pretty much common sense, but it’s funny how in the middle of it all our lizard brain defeats us.

Photo by: Evil Erin. Licensed under a Creative Commons License.

And you know what? There IS always more work to be done.

You’re always going to worry about what others will think of your work. It’s the blessing and the curse of working in a field that is so public. Don’t let that fear creep in and hold you back.

At a certain point you have to detach… just enough…

Just enough that you can escape the self-doubt.
Just enough that you can care less about what “everyone” thinks.
Just enough that you can have the confidence you need.
Just enough that you can learn how to be okay with closing a project.

Because if you’re constantly second-guessing everything you do, then you’re running in place. And then you’re not growing, moving your career forward.

Then you’re a slave to what “everyone” thinks. And “everyone” will never like the records you make.

Here’s something I’m pretty excited about. Auto Time Adjuster (ATA). I was flipping through the latest issue of Tape Op when I came across ATA in the gear reviews section. If you spend a significant amount of time working in Pro Tools LE (like me), I’m sure you’ve grown frustrated many times when dealing with plug-in latency. The lack of automatic delay compensation in Pro Tools LE can create so much extra work and stress.

While ATA isn’t perfect, it’s definitely worth it in my opinion. Using ATA in your sessions will further complicate the signal flow, unfortunately. But that’s still not even close how complicated things can get when having keep track of manual delay compensation times, or how many samples you nudged specific regions. Save if anything changes.

No more manual plug-in latency compensation. And it’s only $49.

Take a look at the website, which has some tutorials. http://www.mellowmuse.com/ATA.html

Compression is a great tool. And I love the way it sounds when applied as an effect of sorts.

But I think everyone can agree that compressors have been used pretty generously in record making over the last fifteen years. If the amount of people who hit Producer Notes because they put some term relating to dynamic compression into Google is any indication, I’d say compression is the number one thing people are interested in regarding recording and mixing music (Buss Compression is one of the most viewed posts on this blog). And I’m not even going to start up on the loudness war.

But why not trade out the compressor for automation? Most DAWs and consoles have fantastic automation capabilities these days. Why not simply turn up the track when it needs to get louder, and turn it down when it needs to get quieter?

I understand that there are particular contexts in which automation can’t do the job (which is really a very specific amount of contexts), but for everything else, why not automate it?

From my experience I find this approach lends to a much more musical, open, natural, and, (not so) ironically, bigger sounding recording/mix overall.

Any thoughts?

Multiple Mics
Using multiple mics allows you to blend the response curves of the mics together, creating a tone full of warm nuances. It’s kind of like taking a photograph with several different lenses at the same time, and then blending the qualities of these lenses together to create a picture with a unique look.

Multiple Amps
Grab an amp splitter or A/B/Y pedal. There are lots of companies that manufacture these. You can get a simple two-way splitter (A/B/Y pedal), or if you’ve got a little more cash on hand you can get more sophisticated with a multi-way splitter.

In any case, split your guitar signal through two or more amps. Then blend the tones together just like in the technique above. You can use the same type of mic on every amp, or try different combinations for more complex tonal shaping.

Layering parts with different tones
One of my favorite things to do is to have the musician perform the same part multiple times, but change different parts of the setup, such as the guitar, the amp, the pedals, the mic, the pre, or all of it. This way, you’re not only getting variations in the tone of the guitar, but also in the nuances of the musician’s playing. Really makes the overall track have a big sound in the end.

*EXTRAS*

So there’s three fairly basic and widely used techniques to capture a great guitar tone in recording, but I thought I’d throw in a few extras as a bonus.

Phase Alignment
There is some great outboard gear, as well as some software phase alignment tools on the market. These tools allow you to play with the phase of the signal-continuosly sweeping it from anywhere between 0 deg to 180 deg in phase adjustment. When it comes to electric guitars (especially in rock) playing with the phase of signals can create some really interesting and inspiring tones.

Mic Placement
Another way to play with the phase of signals is to simply change the placement of two or more mics in relation to one another on a source signal. Equally as interesting and inspiring as above. When positioning microphones, play around with their position and distance on an individual speaker as well. Mic’ing directly in the center of the speaker (mic pointed at the dust cap) will get you a tone that has a lot of high frequency content (but could sound thin). As you move the mic to the edge of the speaker the highs will begin to roll off. Playing with the distance of the mic to the speaker will cause the proximity effect to come into play.

Using Pedals
My favorites are fuzz and octave fuzz boxes, clean boosters, and chorus/short delays. But distortion boxes, EQ/filter pedals, compressor pedals, and phasers/flangers can all be great as well.

If you try some of these techniques out, please come by and share your thoughts or links to sound clips in the comments. Got any of your own techniques? Feel free to post those in the comments too.

A while back I read a great book called Behind the Glass. It was and is a popular book within the music community. Back when I first got an internship at a recording studio, I was given the book by the assistant manager of the place. Later, I let a friend borrow it, and I never saw it again. I’ve been meaning to purchase the book ever since.

At the beginning of the book, Howard Massey, the author, conducts an interview of five record producers. One of which is Tony Visconti. On page thirteen Tony says this:

A common mistake that’s being made today is getting the order or protocol reversed. People think, have, do, be: If I have this equipment, I can do it, and I can be it. That’s not the way it works: It’s be, do, have. Everyone says, “How do I get a great guitar sound?” It’s really simple: You put the amp there, you tweak, you play, you put the mic there-and a microphone is pretty much a mirror-you put the mic in front of that great guitar sound. That’s where you have to do it in the first place. So many people think that, if they get all this gear, it’s going to make them sound great, but the opposite is true. I know that things are going to change-30 years from now, I don’t know what we’ll be recording on. Maybe a tomato, I don’t know. But it doesn’t matter-certain principles will always apply. They applied two hundred years ago when Mozart was alive-you have to really be an artist. And being an artist means that you have to woodshed, you have to put time in, you have to practice. That is where good sounds will always come from-how you record them is irrelevant. A great performance transcends all that.

Be. Do. Have.

That short quote from the book has stuck with me ever since I first read Behind the Glass. It’s become a mantra of sorts for me, making sure I keep my priorities in order as I progress in my career as a producer.

Owning gear can quickly become a distraction. Focus on constantly sharpening your skills. That is your real asset as a record producer.

And grabbing a copy of Behind the Glass for yourself isn’t a bad idea either. Here’s a preview with links to buy.

Everything you do-every reaction you have to a good or bad situation, how relaxed you seem, how focused you seem, they way you respond to people, the way you listen to people, they way you respond when your ideas aren’t used, the way you respond when your ideas are used-shapes your reputation and personality as a record maker. Through this reputation and personality you’re inadvertently “branding” yourself.

You can learn all the information in the text books, and regurgitate that information verbatim. You can learn everything about the circuitry of all the most popular equipment, and even build a lot of it yourself. You can know everything there is to know about gain staging, acoustics, phase, mic placement, or gear components. You can even know all there is to know about harmony, key changes, scales, tempo, or time signatures. But if you don’t have people skills you won’t be making records with people.

I’ve seen people who knew more than anyone else about all of the above and beyond, get passed over for people who did not know as much but were very creative and had great people skills.

The trouble with the people who know everything is that they get hung on the verbatim part. If it does not look and feel exactly like what they know it’s supposed to, exactly what the science says it’s supposed to look and feel like, then it’s wrong.

Text on pages and what you “know” are just a tiny spec of dust in the universe of record making. You have to have people skills. You have to be able to speak the language of creativity. You have to open your mind to other perspectives. You have to throw out the legalistic thinking of what is “right” and what is “wrong.” You have to be able to sympathize and empathize with people.

So how are your people skills?

As I said in the first post of this series, these tips are meant to be five individual tips, not a step-by-step process.

Have Preproduction Sessions
If you’ve been hired to produce someone else’s project, scheduling in a few days of preproduction before the first day of tracking will improve your productivity and workflow-once actually in the studio-100 percent. Find some time to meet with the artist or band to talk about the vision of the project and how you plan to approach making the record. Focus in on specific parts and instrumentation that may need to be ironed out ahead of time, before you enter the studio to record. Have the band rehearse and A/B any changes that have been suggested, both to be certain that the change is a good change, and so that everyone can become familiar with the new way to play the song.

If you’re a part of an indie band who is going full DIY, not hiring a producer, it’s still more than highly beneficial to go through this preproduction process as a band. Talk about the vision as a group to make sure everyone is on the same wavelength, and rehearse all the songs so that they can be performed as confidently as possible when it is time to record. You want to make sure you capture the performances in a way that is congruent with the vision. This process has to be a collaboration between everyone.

Wear headphones when dialing in a cue mix
And make sure you’re listening to the cue mix. This way you will hear exactly what the musicians are hearing, and you have an accurate frame of reference when creating the mix which will serve as the “space” for the musicians to perform in. If there is not an extra pair of headphones for you to use, the next best option is to simply listen to the cue mix over the main monitors.

Set up talkback mics
This will require extra resources in terms of mics and preamps, but if you can afford it, it’s worth it. Setting up talkback mics, mics which allow the person being recorded to talk back to the engineer, keeps everyone from having to run back and forth from room to room to communicate with one another. Or worse, having to yell all throughout the recording space. Setting up talkback mics will make the communication easier to understand, and you won’t have to interrupt the flow of the session.

Take Notes
When I was on staff at Quad Recording Studios, projects would often come in where I would have to transfer 20-30 year old tape into Pro Tools. And all too often these tapes would have hardly any documentation. It’s amazing what new type of swear language you can invent when it’s 3am, and you’re in the middle of one of these projects with no map.

You need to be taking as many notes as possible all throughout the recording process. Document all takes, parts, arrangements, equipment, settings, lyrics, alternate lyrics, spontaneous ideas, and anything else you can think of that’s relevant. It may seem pointless at the time, but trust me, when you go to mix the project, or if you hand the project off to someone else, or if you revisit the project after months of being archived, you will thank yourself. And you won’t get that horrible tightness in your chest that usually shows up just after having this epiphany. Most importantly you will appreciate the favor you did for yourself when word gets around town about how organized you are.

Name your tracks and audio files
Name your tracks and files! Keep them in a specific folder! Don’t put them on your system drive! Here’s another source for a massive panic attack. When editing, transferring files, mixing, or any one of the endless tasks that take place during the record making process, the last thing you want is an Audio Files folder full of generically named files, such as “Audio 1″ “Audio 2″ “Audio 3″ etc. You’re only going to make things harder for yourself on all fronts if you do this. Especially if something goes wrong and some files turn up missing. And if you think you can simply hand the project off to a “professional” who can sort this out for you, think again. You will most likely have to pay through the nose in fees because of the tremendous amount of extra time and work it will take to straighten this out. Most importantly you will not be doing favors for your reputation.

Hopefully a couple of these tips were useful. With any luck the next installment of this series won’t take me another year to get around to publishing. Don’t forget to go back and check out the first post in this series here: [5 Tips To Make Your Recording Sessions More Efficient (Vol. 1)] And if you would like to post your own tips, feel free to do so in the comments. I’d also be glad to take your tips via email. Send them to me at stinson[AT]producernotes[DOT]com. I’ll post them in my next edition(s) of this series along with a credit to you, so make sure to include a link to your website and how you would like to be represented in the credit.

There are so many magazines, books, and blogs on the subject of producing and recording music. Throughout the years I’ve read my fair share of all these books, often times focusing on each and every technical step to the point of overcomplicating the learning process for myself.

Unfortunately most of these published works put a heavy focus on the “A,B,C’s,” and the “tips and tricks” aspect of record making as if the process of recording can be simplified down to a homogenized operation-with a strict right and wrong attached to that process.

Or that there is some magic bullet that will work for any and all situations. And because some hit record-maker thought up this trick, if you use it, everything the trick is applied to will magically be a hit.

Granted, I have written a few “step-by-step” posts myself, and I think that in the grand scheme of things, there is powerful knowledge and wisdom that can be garnered from learning about the tricks that the hit-makers invented (but you have to understand the theories behind why it works).

But what I really try to shine light on with Producer Notes is the underlying artistic and human qualities within creating and recording music. Every situation has a specific context. Each one of these contexts requires an artistic choice which is congruent with that record, and that artist’s identity and vision. When you understand, really understand, the underlying scientific theories which compose the environment in which you are making these choices, you will realize an empowerment that hit-makers experience every day.

But to get there, ironically, you have to first DO-Learn By Doing

Certainly there is a scientific base point upon which pretty much all recording concepts were invented. But that does not make recording any less of an art form than the underlying scientific base point of music itself makes playing an instrument.

Producing and recording is mostly art, and a little bit science. Approach it that way. Take risks. Think up your own ways to do things. Don’t worry if you’re breaking some scientific theory. And Don’t carbon copy the hit-makers tricks. Study them like a musician studies other musician’s compositions-to better understand music. Record-making should not be cheapened to a “one, two, three” process. There is no “right.” There is no “wrong.” And tricks are not invented to be applied to all things. That also cheapens the trade.

Photo by www.photos8.com. Licensed under a Creative Commons license.