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Kensington Sound – 416.930.1275
How To Choose A Studio
Rapidly developing technologies have completely changed the dynamics of music production. The immediate exposure and marketing tools that the internet provides, combined with the ever-expanding myriad of recording tools available to the everyday consumer, make it possible for any artist these days to produce a respectable ‘demo’ or Cd completely on their own. But if all of these advantages are available to everyone, how does one stand out in the crowd and make heads turn? Think of your debut Cd or demo as being your audio business card. First impressions last forever and you will probably not have many chances to wow that one individual or organization. You want to put your very best foot forward. Don’t forget that you are competing with hundreds, if not thousands of similar presentations to those in the industry who have heard it all before. It is not realistic, or sensible, or wise to think that the expertise, experience, and unique talents of a professional studio, engineer or producer are so easily replaced by the simple move of a mouse. Any of these facets chosen correctly can take your music to a higher level you never dreamed possible.
The easiest way to get started is to simply ask around. Perhaps musician friends of yours have just had a positive recording experience or you’ve heard a Cd locally produced that really knocked you out. Check out the credits and make a note of the studio, the audio engineer and the producer(s) involved. Compile a list. Talk to bands, musicians and industry people you know and see if they’ve heard of any of your selections. If you apply enough street research on your own, you should be able to narrow it down quite a bit.
Choosing a studio is probably the most difficult part of the process as your choice will also usually include the audio engineer you will be working with although there are studios that will allow a free-lance engineer to run the sessions if you want to separate the two. Given the current technologies available, almost all the studios you visit will have competent recording equipment. The variables to look out for are microphone selection (you want a varied list to choose from: condenser, ribbon to dynamic, vintage to the latest flavour of the month), interesting outboard gear such as old compressors or kooky outboard stuff that might add a new dimension to some of the tracks and any desirable musical instruments the studio offers itself.
The main console or mixing desk (digital versus analogue) is also an important factor. Depending on the style of your music you may want something older, more vintage-sounding ie. analogue (be aware this might be technically challenging and require a little patience) or instead the pristine sound of the latest in digital technology (this will be a quicker and sonically trouble-free process but expect to have to work harder to obtain colour or warmth).
A firsthand visit to the studio and a short interview with the engineer (make sure he/she will be the same you will be working with!) is absolutely mandatory. How does the space feel? How do you interact with the engineer? Your comfort level is hugely important; to be honest, it’s everything. Hopefully during this time, you will feel a connection and rapport with the engineer and the space itself. It is undeniably tempting to become swayed by swanky opulence, the latest cool recording gizmos and to be intimidated by the star engineer with a ton of credits under his/her name. But if you feel nervous or ill at ease in the studio itself or you feel like you’re not being taken seriously by the engineer, this will without a doubt, affect how you actually perform in that studio with that engineer behind the console and how well you perform is the bottom line – it’s all and everything. If you keep this singular concept squarely in your mind and make your comfort level the main priority it should be, you will find that this is the magic key to a successful recording (if there is one at all!).
An expensive and technically precise recording of a nervous, rattled and unhappy band will always suck, despite all the pricey bells and whistles, whereas a lower-budget recording of an inspired, smokin’ band or a passionate singer who was simply on fire will destroy the competition ten times out of ten.
Ask those in the know – on this there is no argument