Recording Session Tips

audio documentary:  IN THE STUDIO -- This is the audio portion of a documentary on the recording and production of a Jazz organ group I did with Royce Campbell (guitar), Jerry Weldon (then touring with Harry Connick Jr.) and Rudy Petschauer (who'd played many years with Jack McDuff).
First, you have to have your stuff together musically.   Have the tunes picked out, make sure you know them inside and out, and make sure your playing is together.   If you're not working regularly before you record try to jam as much as possible...  its not such a great idea to hit the studio with rusty wheels (!)

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You don't need to have "charts" in most small combo situations, but at minimal you should have the basic arrangements worked out, for example how to get in and out, order of solos, and stuff like that.   The clock is ticking.   Murphy's 3'rd Law will be in action (!)

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I did my first CD in 2 days, my second in 1 day... My own mode of recording is the old "Blue Note" style... a quick run down with the musicians, then a take or so, so I figure I need about 40-50 minutes per track.   It really depends on your own abilities and the musicians you're working with.

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KEEP IT SIMPLE !   Try to avoid arrangements that are so complex even you can't get them right...  Pick stuff that you can come out strong on and that the musicians will be right behind you on.   - - If you play stuff that only you understand, the rhythm section might not be with you and you'll end up rehearsing more than recording while you're in the studio... (Of course, that's the advantage to going into the studio with your own band and arrangements you've already had plenty of time to work out.)

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When picking sideman, think about TIME, consistancy and reliability...  In a live situation, little mistakes don't count... in the studio they do.   You need a rhythm section who won't be speeding up and slowing down behind you and one that understands you... in theory, this is the advantage of using hired guns.

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Here are your basic expenses in a nutshell  (related to the recording only, not the manufacturing and promotion of the CD) :   sidemen, studio time, mixing, mastering. (After promotion, which is the biggest expense.)

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Originals vs. Covers and Standards - - You have to pay mechanical rights on originals when they're released.   Go to songfile.com for further info.

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Time :  If you're going for radio play, aim for the 4-5 minutes.   Also make sure the tunes are structured... not just jammed in and out... they have to have beginings, middle, endings, and preferably hooks and builds.

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When picking tunes for your CD, think of the overall package... the stories you want to tell, moods, and their entertainment value...  Its important that you do tunes that are ear catching... that make people stop and listen.    Standards and Covers are great, but if you're doing someone else's tune, make sure to give it a fresh perspective.

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Think of the CD in its entirety as you record the session and imagine the CD is like a set.    Variety is important from track to track.   No matter how great a tune is, after a certain amount of time anyone will get bored... so if the first few tracks all sound the same, most listeners will lose interest.

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If you make a mistake during a cut, whatever you do, don't stop playing... sometimes it can be fixed.   In fact, you will make mistakes, even on good takes.   Unless there's been an obvious train wreck (*the whole band has fallen apart) play it to the end and listen through.  The engineer may be able to save things visa vis a punch in.

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Hold off the mix down for a week or two.  As the weeks go by, you'll actually hear the music differently... its a strange phenomena.  Despite the temptation, try not to listen to the raw mix too much before the mix down.   Listen to it a bit... then give your ears about a week or so to recover... then take a fresh listen.

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Bring the engineer a copy of some CDs who's sound you like and discuss the recording style you're going for.  The most common mistake made by (less experienced) engineers is recording all styles of music as if they're the same.  Every genre of music has its own recording intricacies.   If you play Hammond (like me) you also want to make sure the engineer has had experience mic'ing a Leslie.  (video)

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I prefer to record "live to tape" without the use of isolation.   When recording in that manner, make sure the engineer has shielded and set the mics properly to avoid as much leak through as possible.   Just because you're all in the same room doesn't mean that the tracks can't be mixable.   If a certain instrument leaks through every track, the mixdown will become a nightmare, and retakes might become impossible.  


On THEM THAT SWINGETH we had the studio set up as follows:

HAMMOND ORGAN -- in studio, but LESLIE SPEAKER in isolation booth.
GUITAR -- Directly mic'd, monitored through headphones.
DRUM -- in studio mic'd
SAX -- in VOCAL booth