How I Record Music Part 1_The Source


Val
Val Valentin, Bruce Leek, Donny Sciarrotta, Biff Dawes, Deane Jensen. These folks are engineering legends. They didn’t have any more than what today would be considered raw and primitive tools to pull off a technically complex task ...to capture and present music to a broad audience.

They followed a simple scientific principle …if it doesn’t sound good to the ear it won’t sound good to the microphone either.

Bruce
If a snare drum sounds like someone is hitting a poorly tuned tin can in the studio or on the stage, you can be sure that the best of microphones and processors will reproduce that tin can sound to its fullest potential in the control room and out to the audience as well.
If the tin can sound is not what you want from your snare drum change it at its source. Try not to use technology to correct someone else’s inherent problem.

Biff
A great mix begins with a great recording.
Critical listening starts during set-up for the tracking session. It’s more than listening; it is also watching to see where people naturally gravitate to in the studio itself.
I’ll take a lesser quality acoustic spot in a room for one with the right player vibe. Most people know where they feel comfortable in a space; most musicians know who they play best next too.
Allowing this natural occurrence to happen stimulates the capture process by removing as many intrinsic discomforts to the performers as possible. You don’t want them thinking …I’d played better if …

Next up_Large vs. Small sets

 

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Hang

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