The Singer-Songwriter's Guide to Recording in the Home Studio

To Robert Nyle Adams, the greatest of all.

BERKLEE PRESS

Editor in Chief: Jonathan Feist

Senior Vice President of Online Learning and Continuing Education/CEO of Berklee Online: Debbie Cavalier

Assistant Vice President of Marketing and Recruitment for Berklee Online: Mike King

Dean of Continuing Education: Carin Nuernberg

Editorial Assistants: Reilly Garrett, Emily Jones, Eloise Kelsey

Photos by Shane Adams (unless otherwise indicated)

Cover by Arnel Gregorio

Cover Photographers: Jonathan Feist (Top, featuring Lauren Marx), Joshua Resnick (Bottom)

To Robert Nyle Adams, the greatest of all.

ISBN 978-1-4950-0875-7

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Boston, MA 02215-3693 USA

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Contents

ACKNOWLEDGMENTS

INTRODUCTION: THE MODERN SONGWRITER’S STUDIO

CHAPTER 1. HOME STUDIO SETUP AND GEAR

Computer

External Hard Drive

Recording Software:

Digital Audio Workstations

Microphone

Audio Interface

Monitors/Speakers

The Room

Noise Control

Minor Gear

Portable Recording Devices

Wi-Fi

Cables 

Organizing Cables

Microphone Stands

Pop Filters

Mic Pads

Direct Injection Boxes

Electricity Control

CHAPTER 2. THE RECORDING PROCESS

Using Your Home Studio

Set Up and Go!

Creating a Mixdown

Troubleshooting Your Audio Setup

Stages of Recording

Designing Your Personal Sonic Landscape

Which Song to Record

Setting a Schedule

How Much Time It Takes to Record

Giving Musicians What They Need

Production

Finding the Right Tempo

Finding the Right Key

Tracking Strategies

Full Bands vs. One Player at a Time

Click Tracks

Producing Other Singer-Songwriters

Getting Great Performances

PostProduction

Mixing

Mastering

The Home-Studio Production Mindset

CHAPTER 3. RECORDING LIVE PLAYERS

Setting Up a Tracking Session

Signal Level

Instrument Settings for Optimum Recording

Correcting Phase

Types of Microphones

Microphone Patterns

Auditioning Microphones

Recording Vocals

Isolating Vocals

Recording Guitar

Acoustic Guitar

Electric Guitar

Bass Guitar

Recording Keyboards

Keyboard Audio

Keyboard with MIDI

Acoustic Piano

Recording Drums

Virtual Drums

Recording Other Acoustic Instruments

Know Your Room

CHAPTER 4. DAW SESSION MANAGEMENT

Recording Templates

Click Tracks

Take Sheet

Busses

Headphone Mixes

SubMixes

Track Documentation

Keyboard Shortcuts

CHAPTER 5. MIDI AND VIRTUAL INSTRUMENTS

MIDI Loops

Real-Time vs. Step-time Recording

Buying MIDI Files

Virtual Instrument Setup

MIDI Hardware

Synthesizers and Samplers

CHAPTER 6. USING LOOPS IN THE CREATIVE SONGWRITING PROCESS

MIDI Loops

Audio Drum Loops

Where to Find Loops

Working with Loops

Auditioning Loops

Loops in Templates

Layering Loops

Other Loop Generators

Arpeggiators

Arranger Keyboards

Software Loop Generators

A Final Thought About Loops

CHAPTER 7. EDITING

Cutting and Pasting Tracks

Volume Automation

Comping Tracks

Track Documentation

Overdubbing

Overdubbing over Rhythm Tracks

Overdubbing Multiple Takes

Overdubbing for Corrections: Punching In and Out

Editing Stray Sounds

Pitch Correction

Fixing Timing

Crossfades

CHAPTER 8. MIXING

Panning

Adding Plug-Ins

Depth of Field

Reverb vs. Delay

Compression

Grouping Tracks

Order of Events

Localized Adjustments

Reference Tracks

CHAPTER 9. FINAL STEPS: MASTERING AND MORE

Tools of Mastering

EQ and Compression

Loudness

Mastering Software

Mastering Speakers

Song Order

Hiring a Mastering Engineer

AFTERWORD

ABOUT THE AUTHOR

I am indebted to the following:

• Jonathan Feist, my editor and co-conspirator. This project would not

exist without your confidence, guidance, and graceful endurance of duress. I admire you on too many levels to mention here. I am superfluously grateful for your friendship and apple knowledge.

• Donna Hague (my sixth grade elementary school teacher!), you were the first to believe in my potential and the first to plant the seed that I could write a book.

• Cheryl Syphus, the repercussions of your gentle and loving guidance towards a barely making it, scatterbrained, High School English ruffian, are still being felt today. You gave me a chance when no others would. I am truly in your debt.

• Robert Ball, the amazing musician and musical father figure who showed me the North Star and gave me my bearings.

• Buddy Hill, I tried your patience in your piano studio. You made the piano matter to me.

• Kathleen Flake, dearest of friends.

• Kenny Varga (KV67), my Nashville brother, chief musical collaborator, friend, ear, and musical twin. I feel like you are half of my brain—the better half. You have enriched my life in incomprehensible ways.

• Eric Price, my confidant and brother. The only musician I can truly read without thinking.

• Tony Lefler, my oldest friend on Earth. Our musical dreams as young boys led me here. The foundation of who I am reaches deep into the roots of our friendship.

• Keith Sandin, I admire you more than I can express. I am a better person because of your friendship.

• The Mahaffey family, the humor and love I experienced within the walls of your home are a permanent part of my being.

• Jesse Curtis, the smartest human being I know. Too many adventures to count...your friendship is the world to me.

• Rodney Greene, my faithful friend and chief midnight-long-talk-at-the-buffet companion.

• Kurt Thompson, cohort and leader of shenanigans. You are my model of success.

• Roger King Jr., you fearlessly harbor my deepest secrets and highest joys. You are the definition of friend.

• Mark Hardt, my unexpected bonus Boston brother. You embody the qualities of the consummate professional I desire to be.

• Rodney Williams, your spark and infectious drive continuously inspire me to be better.

• Ben Klinger, you opened the world of recording to me. You gave me my first session and have since remained a bright star in the constellation of my closest friends.

• Jan Stolpe, you started my production journey and engaged my love of gear. Your friendship, professionally and personally, is one of the hallmarks of my life.

• Rob Gonzalez, one of the most gifted musicians I have ever met. You were a star when we met, and remain brighter so today. Giving me Durgin Park changed the trajectory of my musical life.

• Frank DeBretti, by far, the most brilliant musician I have ever encoun-tered. You are the pinnacle.

• Tim Denbo, your talent continually astounds and inspires me. You have never given anything less than amazing.

• Johnny Rabb, you are the result of some sort of mad science experiment that combined tenacity, talent, decency, and humor.

• Bobby Stanton, your instruction laid the foundation for so much of what I do professionally. I am indebted to you.

• Pat Pattison, my mentor above all other mentors. I owe you my musical career.

• Jimmy Kachulis, I bow to your vast knowledge and infectious love of songwriting. The gracious weight of your legacy informs all I do.

• Justin McNaughton, you are the thoughtful, level headed, and (amaz-ingly) astute friend/partner I do not deserve.

• Tyler Castleton, you have my utmost respect and deepest affection, my friend. In every way you are two steps above your peers.

• Rich Parkinson, you are an unflagging reminder to work hard and stay true to your principles.

• Toni Maisano Ross, Gayle Quailey, and Creson Jones, I try every day to emulate your example of gracious leadership and enduring kindness to others.

• Leanne Segura, my biggest cheerleader and humblest supporter. I am a better man because of our friendship.

• Warren White, who allowed me to grow and expand my technical knowledge at Pro Audio Solutions. You remain a great teacher and friend.

• Wilber Schaeffer, Kim Barclay Ritzer, Jeff Tidwell, Shannon Shogren, my adopted Bonanza family. You are the epitome of talent and friendship.

• Deborah Owens, inspiration, muse, part Selene, part Euterpe, part Steena.

• Johnny London, sacred geometry! You remain inspiring!

• Clay Essig, my film brother. You’re an example of bravery and perseverance.

• Much love and respect to my VIP tribe. I am honored to be part of your family. Please add and especially before each of your names! Dave and Shannon Stroud, Ingrid Schnell, Mindy Pack, Lisa Haupert, Wendy Parr, Gregg Consentino, Kelly Farrell, Camiah Mingorance, Line Hilton, Ian Davidson, Darcy Deutsch, Stephanie Bare, Steve Giles, Nicole Larsen, Chris Johnson, Whitney Nichole Cytryn, Juri Tiara, Eddie Robson, Karen Moondragon, Kyle Martin, Joshua Alamu, Tersila Romero, John Henny, Joy Fields, Nara Boone, Kaya Carney, Tom Harrison, Sheena Ladwa, Jewels Jaselle, Denosh Bennett, the Peros family, Iari Melchor, Dahlia Lagos, Karen Titze Cox, John-Mark Seltzer, Erin Reagan, and Chrissy Rogers. (I know I’m leaving many out . . . forgive!)

• Mike O’Rear, a true icon of Music Row. It was an honor working for you. I learned so much in your office and in your presence.

• To my friends and family at the Country Music Hall of Fame and Museum: Ali Tonn, Nathalie Lavine, David Bogart, Danie Herbst, and Kelley Jones Luberecki. I am humbled by your awesomeness.

• Tammy Bondurant, I am indebted to your timeless love and support.

• Josh Preston, you are who I want to be when I grow up. You are a true music industry renaissance man. I am grateful for your friendship (and Lisa rocks!).

• Michael Hinckley, I am proud to be your producer, and prouder to be your friend. You are a musical inspiration to me.

• Carin Nuernberg, you are so amazing to me. I am grateful for your friendship, support, and leadership at Berklee Online. The world is a better place because you are in it.

• My Berklee and private students: your unfailing creativity and verve inspire me.

• Maura-Lee Albert, I am grateful for your patience. There is no better mother on Earth.

• Maurgea, Evangelia, and Isadora: There is no father alive more proud, and more captivated by the brilliant light and love of his beautiful daughters than I. I love you to the moon, the stars, the sun, and back (don’t forget the whole world).

There are a number of factors in today’s music industry that have contributed

to the rise of the home studio. Most obviously, recording technology to let average musicians record and release their own music has become affordable, easy to use, and exceptionally high quality. If you have a computer, you only need a few hundred more dollars to be able to make recordings at a quality level that could have cost millions of dollars to produce only a few decades ago.

Other factors are also driving the need for home studios. The industry model is shifting away from artists being signed by major record labels, in favor of them producing their recordings independently. The advents of close fan contact via social media and of audio streaming have put more emphasis on artists producing singles, rather than albums. So, we are frequently releasing singles, rather than working on larger albums, and the former economy of scale that could come from using a commercial studio space is no longer driving our patterns of writing and releasing songs.

Artists at all levels are finding the need to have their own home studios, even if they only use them for scratch recordings and still do their final work in commercial spaces. But many artists are no longer finding the need to use a commercial studio.

For many years, I have been consulting to songwriters in Nashville and around the country about how to develop their own studios. Sometimes, these are stand-alone commercial spaces, but more often in the artists’ homes. Many of my clients are new to the recording process. But some are very experienced. For example, I’ve been working with Byron Gallimore, the GRAMMY®-winning producer for Faith Hill, Tim McGraw, and many others, on putting together a home studio to make quick demos—actually, in one of his big, walk-in closets. He then brings his artists to world-class commercial studios. On the other end of the spectrum, I work with many songwriters who are just getting into it, and simply want to be able to have an affordable way to record their music and get it out there.

Personally, for the artists I produce, we tend to record in our home studios, and then send our tracks to dedicated mixing and mastering engineers. While we can certainly do these tasks in our home studios, there are benefits to simply having fresh ears and greater experience managing these phases of the projects, so I try to bring in other engineers when the budget allows. Mastering studios, in particular, tend to have gear that is superior to what is affordable to the rest of us. While a home mastering job will typically focus only on adjusting loudness, a mastering engineer can also fine tune the track’s overall sound and make it sound a lot more pleasing, and doing this well requires a lot of training and experience. It’s possible to get it pretty close in a home studio, but I personally feel that you can get better quality by having specialists handle the mixing and mastering. There is also a great benefit in having someone with fresh ears make final, subtle adjustments at the end of the process.

So, there are different ways that people set up, use, and integrate these spaces into their processes.

Typically, my clients seek me out after investing a fair amount of time on their own, trying to get it all to work. A common experience is that they go to one of the big gear retailers and get sold a bunch of gear that is unnecessary or inappropriate for their needs: the wrong kinds of mics, or interfaces, or software that they don’t know how to use. They waste a considerable amount of time trying to figure it all out, and then eventually, realize that they are in over their heads.

In this book, I will share some of the common advice and techniques that they find most helpful, and that finally leads them to getting the full benefit from having their own recording capabilities.

And those benefits are very significant.