Sooner
or later you'll have to go in there, and sooner or later you'll have to come
out.
For
some, the studio is a haven for creation. The controlled environment provides a
cocoon for exploring a song. People who love to record, though, are usually
reluctant to release their creations into the hostile acoustics of the real
world. Instead, their songs remain a work-in-progress as they claim a quest for
perfection. This is not the greatest way to move a career forward. For the rest
of us, the studio is a vacuum. 21221y248v Not only does it suck the cash from our wallets,
it drains our music of its energy. It's frustrating when that beer-soaked,
sweaty stage vibe you've become known for never makes it on tape. Obviously, we
can't hold the studio responsible (although many do); a studio is just a room
full of equipment. The problem lies within. As soon as the red light comes on
we try too hard or become self-conscious. Overcoming this anxiety, can be as
simple as adjusting your prospective going in.
Singing
on stage is different than singing in a studio, just like acting on Broadway is
not the same as acting in a movie. However, singers have to work in both forums
while actors normally focus on one. Treating the studio like a live gig is a
typical error in approach. No one cares if a vocal was recorded in one pass,
yet lots of singers feel embarrassed when they require multiple takes. What
matters is the end result. Like a movie, the singing you hear on CD's is really
a quilt of the best phrases seamlessly sewn together. It's not cheating; it
takes stamina and a mental focus to maintain vocal continuity for several
hours. In other words, chops. This doesn't have to result in a sterile
recording. Even after many rehearsals, actors often screw up their lines when
shooting a film. Sometimes the mistakes work better than the original idea. It
takes a good director to know when to wrap a scene.
When
recording, a producer plays the role of movie director. It's his or her job to
organize the project before approaching the studio and then to inspire better
performances once recording begins. Unfortunately, many bands choose to save
money by producing themselves and wind up paying in the end by wasting time on
a demo which falls short of their potential. There is a physical connection
when you perform and it's hard to separate the effort from the outcome. A
producer provides an invaluable overview. Incidentally, it's a dependence on
the physical side of performing which tends to make people say that your band
"sounds" better live. During a gig, your fans witness your effort and
that plays heavily in their experience of a song. Recording, though, is like
playing a concert for the blind. Without the visual aspect, your music may not
have as much impact as you think. It usually takes an outside observer to
suggest some changes. If you can't afford a producer, spread your recording
session out over many weeks. Let some time pass by before listening to rough
mixes in order to gain a fresh perspective on what you've done.
Recording
also requires an adjustment in the way you rehearse. It's amazing how many
people enter the studio over-anxious and under prepared. There's no excuse for
a band to engage in momentum killing arguments over a song they've been playing
for a year. Get it right before the clock starts ticking. Rehearse the
recording process, not just the song. Use a four track cassette deck and run
through the steps just as you will in the studio. Everyone should know what
everyone else is playing. To relieve "red light fever," get into the
habit of recording rehearsals. Experience will show that the best performances
come once everyone forgets that tape is rolling -- a simple but important point
to remember, every time you approach the studio.
