Studios - making demos etc.

[Steve Jennings <100010.1152@xxxxxxxxxxxxxx>]

	If studios in the States are anything like they are here,
prices are going to vary wildly, as will the service provided. The only
thing you can do is to check out three or four places, and visit them,
and talk to they guy who will be engineering for you - make sure you
get on O.K., and that he has some sympathy for the music you're
making. On the big day, he is going to be your "impartial ears" - you
will find it *very* difficult to be objective during the actual
recording. For that reason, if for no other, I suggest that you leave
*at least* a week between recording and mixing, and that no-one takes
any rough mixes away with them - that way everyone comes back with
fresh ears.
	It's also worthwhile deciding among the band *in advance* who
is going to have the last word in the event of any dispute in the
studio. Nervous energy is going to be high, and paying someone rent for
premises to fight in isn't really sensible!
	Probably the most important thing is to sort out *exactly* what
you're going to play and how you're going to play it - every member of
the band (including the drummer) should be able to play every number
you're going to record *on his own* (even if you're planning to record
"live"). Recording time shouldn't be taken up with rehearsals,
arranging or (heaven forfend!) writing - it costs enough as it is.
	Allow at least three hours for setting up the drum kit and
getting it miked up - if you manage it in less, you've lost nothing,
but if an unidentified squeak or rattle suddenly manifests itself,
you've budgeted for it.
	Make sure everyone brings spare strings / sticks /  harps, as
appropriate to their calling - all the things you break on a gig - the
thing you don't take will be the thing that fouls up - it's a rule!
	Make sure your harps are *in tune* - what you can get away with
live can sound excruciating on tape. Take at least one spare in every
key you intend to use and a tuning/repair kit.
	As far as the tape itself is concerned, three tracks is usually
ample for a demo - make sure they're your three best (not the same as
favourite) performances. The ones that are going to make the booker
want to hear more. The first, say, fifteen seconds are going to the
vital ones - that's when the first impression is formed - and you want
it to be a good one - it's unlikely that anyone apart from the band
will ever actually listen to the thing all the way through
(depressing, isn't it?), but you have to make them listen to the first
track up to, maybe the end of the solo, or whatever, before they fast
forward to the next track etc.
	Also, try to have someone handy on the day to run out for
beer, sandwiches, cigarettes, the strings the guitarist forgot etc.
	If you follow the advice about rehearsal, you should be able to
do three tracks (including overdubs) comfortably in a twelve-hour
session (less three to set up the drums, and another one to pack up).
	Then leave it a week and go back for a half day mixing session
- again have an arbiter - everyone will say that their particular
contribution isn't high enough in the mix - it's a band effort and you
*must* all listen to the band's sound.
	When you start trying to get work, make sure the thing is
presented decently, make sure the tracks and personnel are listed, and
*above all* make sure that it is clear which side of the tape (a C30
should be more than enough), the tracks are on, and that it is rewound
and ready to play, and doesn't have a two minute silence before the
music starts. Think of the poor guy to whom your tape is one of fifty
he's got to listen to this week.....
	Hope this helps - it's obviously a UK biased view - 'cos I've
never worked outside the UK, but this is how it seems to happen/work
best for me.

	Steve Jennings.