The following were compiled from many different sources and are not meant to be "written in stone"! This is only the beginning, I will try to update this list and post appropriately. Happy Recording! *====================================* Doug Ramsay Acknowledge Him Productions Studio 1007 Ft. Washington, MD 20744 doug.ramsay@his.com *====================================* ************************************************************* Multitrack Recording Basic Production Tips Vol. 1 Preparation ¥ To keep your recordings bright and flutter-free, clean the tape heads, tape guides, capstan and pinch roller before every session. If possible, use 90% isopropyl alcohol because it has less water and will evaporate faster, thus reducing the probability of rusting your tape heads. Recording ¥ Record everything at a level that is as high ("hot") as possible in order to minimize tape hiss (noise). With Dolby machines, try to keep the level fairly high. ¥ As a rule of thumb; bass or very bright sounds are the most vulnerable to distortion, percussive sounds are the most difficult to meter accurately. If you can remove unwanted bass from sounds with EQ before you record them, you'll generally get a better sound on tape. ¥ Record with noise reduction ¥ Use optimum (high-bias) short length tapes (max. 60 min.: Maxell XL IIS, TDK SA-X, Sony UX-Pro, Denon HD). Shorter lengths reduce the probability of tape breakage because the longer the tape, the thinner it is. ¥ Don't use cheap audio cables, make sure all connections are clean and solid. ¥ Tape noise increases 3 dB every time the number of tracks in use doubles (assuming equal levels per track). To reduce multitrack noise buildup, mute tracks that have nothing playing at the moment - use a noise gate in line with each track, if possible. ¥ If possible, record tape tracks from the direct output of each input module rather than the bus. This is a cleaner, shorter signal path. ¥ Use noise reduction on recording and playback and if possible, use a DAT, digital multitrack or direct-to-disk for your mixdown deck. ¥ Run the bass guitar through a compressor before recording it to multitrack. This gives you a punchier sound when you mix. ¥ Never record "hot" parts next to a sync track, crosstalk can cause your time- code reader to get lost. ¥ Try not to use EQ or record effects during basic tracking and overdubs, particularly if you aren't sure of your final sound. ¥ EQ is best applied by cutting rather than boosting. ¥ Before mixing down, record a small portion (30 sec) of the song. Recording a small portion and evaluating it prevents you from having to mixdown several times. The similar should be done at mixdown time. ¥ Consider recording stereo synth and drum parts (or your most important parts) to tracks 1 and 4 first. The reason for this is that tracks 1 and 4 are the worst tracks on a 4-track because they are on the edge of the tape and have slightly less contact with the heads than the inside tracks. Bouncing Tracks ¥ Add a live part as you bounce tracks to minimize bouncing more tracks ¥ Try to avoid bouncing lead vocals, drums...you'll lose clarity on these tracks. Mixing ¥ The first step in mixing is to set the relative volumes of the instruments and/or tape tracks, this is the purpose of each channel's volume fader. ¥ When it comes to mixdown, set the final volume level with the mixer alone. This also allows you to change your mind later and make the part louder. ¥ It is important to set the initial gains properly (line and mic-levels). ¥ If level changes are required during the mixdown, mark the settings on the faders for each change. ¥ As you adjust the mix, set the input faders to achieve a 0 VU recording level (+3 VU max.) on the meters for buses 1 and 2. Try to keep submaster and master faders at design center. ¥ Subtracting from a mix always works better than adding. ¥ Take ear breaks during your mixdown sessions. ¥ Write down everything on your tracksheet: type of mic, EQ settings, outboard gear, etc. Overdubs can and will be done repeatedly and it's helpful to remember how you set up the equipment in the past. ¥ A good mix has a good sense of depth (front to back) and stereo image (left to right). Mastering ¥ Sync MIDI to the final stereo master, this will free up tracks on the multitrack, as well as giving first generation tracks to the master tape. Effects ¥ If you must add reverb to a group of bounced instruments, try using a short reverb plate setting of 0.5 to 0.8 seconds. ¥ Compress vocals and bass guitar as little as you record, then more as you mix. ¥ Often each track sounds like it was recorded in a stuffed closet and isolated in its own little space. To remedy this, add stereo reverberation. If a synth sound is panned left, pan its effect return right. For example, you might hear synth bell tones on the left and a quiet echo on the right. This stereo jumping gives a lively action to the mix. Sources and Thanks: * Chris Alleyne - Acknowledge Him Productions * Nick Velharticky - University of Toronto * "Multitrack Recording - An EM Primer" - Electronic Musician, Jan '91 * "Production Tips For Your Home Studio" - Electronic Musician, May '91 * "An Introduction to Mixers and Mixing" - Electronic Musician, May '91 * "Multitrack Recording" - Electronic Musician - October '92 * "Guide to Instant Recording Success" - Home and Studio Recording, Feb '91 ------------------------------