 |  | Recording Tips for Musicians
| 9/19/2008 - The process of recording has really evolved for me over the years. The main way it's evolved recently is that I've taken control of the process through artistshare. In the past I did a number of recordings in 4-6 hours. At times, takes were released that I didn't want released, liner notes and covers that I didn't want were used. This was just unacceptable to me, and I decided that I had to make sure I controlled the end result of my work.
One important technical aspect to recording that I've discovered over the years is how close I'm standing to the microphone (which hopefully is an old Neumann tube mic). For years I tried to explain to engineers that the saxophone, unlike a brass instrument, is not designed to be recorded at the bell. The saxophone is an expanding vented pipe, and the sound is coming out of dozens of places on it. So, to really capture the sound, at least, in my opinion, and for my sound, you need to stand back from the mic, anywhere from 2-6 feet, depending on how big the room is, what kind of group it is, etc. The sound is designed to go out into the room, that's where the lower partials are that ground and give fullness to the sound.
In recent years, I've done as much recording as possible with everyone in the same room. While there may be issues with that for engineers, since most of the greatest classic jazz and classical recordings were done that way, it obviously can work. As a result, I think the end result is more organic and closer to the experience of hearing a band live. Separate rooms and headphones can work great too, but I'd rather be able to see and feel what's happening the way I do when performing.
Once I get in the studio, one of the most important things to me is creating an atmosphere where the musicians I'm playing with feel happy with their sound, can hear themselves and everyone else well, and that they're given room for their creative ideas. If you're fortunate enough to have great musicians come and play or record your music, you really want them to bring their ideas to it. I can think of many times when great musicians like Ben Monder, Billy Drummond, Kevin Hays, Bill Stewart or others brought a perspective to something I'd written that I would never have thought have, and inevitably added a great dimension to the music. Ideally you want to have things well rehearsed before hand if you're trying to record some difficult writing. But for something that is just more of a simple form or sketch, a first run in the studio can be magic, again, if you're playing with great players.
Lastly, One of the trickiest dynamics is what you record on a given day. You may go in with a plan to record certain tunes and for any number of reasons it may just not happen in the way you'd like. Once an engineer erased a take, another time one stopped recording a take of a very difficult tune-it was a first take as well, and he was more concerned with getting the sound he wanted than just capturing what we were doing. Other times someone would get lost in a piece, there would be a technical glitch, the music falls off the stand etc. So, I try to go in the studio with a lot of options to feel out what we'll get that day. I think you go in with a plan, but I find it's best not to be too attached to HAVING to get some specific tune. After 3 or 4 takes, (preferably no more than 2) if you don't have it, you're probably not going to get it, and rather than kill the vibe for the whole session I find it's best to just move on to something that everyone can relax into. Usually, though not always, if the day feels good and loose you're going to be happier with the results. | | |
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 |  |  | | | |  | Recording Tips for Musicians | | The process of recording has really evolved for me over the years. The main way it's evolved recently is that I've taken control of... | | |
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