A snare turning video from Udo Masshoff from his Drumtuning Revolution DVD.

You have finally perfected all your songs.  You are now ready to go into the studio and record them.  You found a studio you like, you like the engineer the budget works for both of you and you are ready to book a start date.  You have everything checked off.  You have the songs you are doing well rehearsed.  You have the vocal harmonies worked out, you have the tempo of each song.  You are forgetting one major thing most artists/bands forget, the reference songs.  What are reference songs?  Well, I have had a lot of bands come in to the studio after meeting me and hearing my work.  So, they book a start date.  Now it is time to record.  Maybe the band is using their own gear, maybe they are using the studios gear.  Or a combination or both.  But wait… did everyone discuss what the band wanted the final product to sound like first?  Maybe they just vaguely said “like something on the radio” or “huge sounding.”  These types of terms are very ambiguous and can have very different meanings depending on the person.   

 

Better than just using words to describe your music give actual examples.  This could be I want the guitars to sound like “Boulevard of Broken Dreams” by Green Day.  Or I want the drums to sound like “xxx.”  This will give the engineer a much better idea of what you are after versus just saying I want the bass to sound “more like a bass” or I want the guitars to sound “mean.”   Reference tracks are clear examples of exactly what you want for your music.  These examples are very helpful to any studio you will be recording at.  It is a good idea to have a few different examples of what you want.  Maybe you want the entire music (bass, drums, guitar) to sound like “song x”, you want the vocals to sound like “song y” etc.  The other thing these reference tracks do is give the engineer an example of what the mix should sound like.  You can have completely different tracks for this if you want.  It is usually good to have about 3 different similar sounding bands you really like and about 2 songs from each band to give the engineer as reference for mixing. 

 

All these reference tracks should be given to the studio/engineer as soon as you can.  Preferable 2-3 weeks before the scheduled start of recording to give the engineer a change to listed to them beforehand.  Always pick high quality songs to give to the studio.  If possible avoid using mp3 or low-quality tracks and get wave files if available.

 

Always be prepared for the studio in every way you can.

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You have a guitar you have either had for a while or just purchased.  You are thinking “I just purchased this guitar.”  It was just made do I really need to get it set up?  I used to think all setting up a guitar did was adjust the intonation, straighten the neck and push some of the frets in that need it.   There is so much more in properly setting up a guitar.  I am not going to get into how to perform this here.  There are plenty of youtube videos on many specific guitars.  Taking a guitar to a professional is not that expensive and I always recommend this option if available to the player.  So, what does this actually do?  Well like I said earlier Your intonation is set and the neck is straightened but there is so much more.  The radius of the nut and bridge is also set.  When guitars come from the factory the nuts are usually just pre-made and glued on the guitar.  They are either made of plastic, delrin, bone or brass.  I prefer bone or brass over plastic or Delrin (which is a form of plastic just higher end then normal plastic).  The tone of the guitar seems to come though a bit more with these nuts.  This can be debatable though.  When you fingers are pushing on the strings do you really hear the nut?  Some say yes, some say no.  In the grand total of the guitar the nut material makes a difference, but it is a very small difference.   What does matter in the nut it how the strings sit on it.  When your guitar is set up the Luther can file down slots in the nut to make the strings individually sit at the right height to the fretboard.  If the slots are too low the nut can either be shimmed or filled to raise the height of the slot.  Though filling is not permanent and wears down over time. In this case the nut can be replaced as needed. 

 

The saddle is also matched to the radius of the guitar.  In the case of Strats, Teles (modern ones) and most basses each individual saddle can be raised to lowered to match the heights of the radius.  With bridges like Les Pauls or SG bridges only the low E and high E can be set.  The rest is set by filling down the slots in the remaining saddles.  This is not something you want to perform yourself as you can really mess a bridge up if done wrong.  Other general things on the guitar will also be performed.  Like the pickup height will be set, the fretboard oiled and the pots, jack and 3-way switch being cleaned.  Every guitar is different, but this is generally what is done on a working guitar.

 

Now let’s talk about upgrades.  The most common upgrade people do is the pickups.  There are generally 3 categories of pickups.  Cheap ones that come on a guitar (though the ones that come on the guitar can be any of these three), higher end ones from your guitar manufacture (like Gibson, Fender etc) and then boutique companies that only make pickups.  Cheap ones are just that.  Cheap pickups that will under-perform pickups from the other two categories.  Now what should you buy high end pickups from Gibson or Fender or boutique pickups.  Some people swear by Gibson Classic 57s or Burstbuckers.  These are much better pickups that lower end stock ones.  I have found Gibson Classic 57s to be a bit muddy sounding vs boutique companies like Lindy Fralin.  They are close, but I always think boutique companies like Fralin pickups sound better.  I would put Seymour Duncan pickups in the same class as Gibson or Fender.  I think other boutique companies for the same price make better pickups than Duncan does but this is down to personal preference and every user will think different. 

 

So, you decided to change your pickups should you just stop there?  Your pots and tone caps will also make a very big deference.  CTS pots are pretty much the standard with guitars and basses.  If you have cheap pots replacing them with CTS pots will make a big deference.  But you should also change the wire and tone caps.  The three most common type of tone caps are cheap small ceramic ones, orange drop caps and paper in oil caps. Small ceramic caps will have the least effect when rolling off the tone.  They seem to only effect a small amount of the tone and do not do a broad sweep like the other two do.  Orange Drop caps are very popular and sound much broader than the small ceramic ones do.  Paper in Oil caps (PIO) are found in most vintage guitars and give you the classic vintage tone.  These are very popular in Les Paul’s, Strats and so on.  There is a very wide price range for PIO caps ranging from $10-$100+.  Some companies make re-issue PIO caps and sell them for $100+.  Is there a difference between those and the mid-grade ones for $18 or so for a set?  Most people say no.  But I am sure there are a few that can tell the difference.  I think this is a very small difference and not worth the extra money but that is up to you to decide for yourself though.

 

The next thing you can do for your guitar and not all guitars need this.  Is shielding the guitar.  If you pay someone to do this it can be very expensive.  If you do this yourself it will be under $7 or so.  For new pickups and Pots you will need soldering skills and let’s face it not everyone has them.  For the most part shielding can be done without soldering.  Though you may have one or two solder points that you will need to remove if you shield your guitar. There is a video posted at the end of the article about shielding.  What does shielding actually do?  When you take you hands off of the strings is there a buzz?  When you play in a bar that has florescent lights or bad power does your guitar make weird buzzing or sounds when you move around?  These all may be signs of a guitar in need to shielding.  Do not confuse this with single coil magnetic field noise.  This is just a part of single coil picks as you move left to right and as you pull the body of the guitar from parallel to perpendicular there will be a phase sound.  Shielding will not get rid of this but will only get rid of the constant buzz that happens all the time no matter what direction you are facing.  Shielding creates a Faraday cage around the electronics of the guitar and blocks the + single from interacting with other electric elements that are in the room.  Remember speakers sitting next to old TV’s years ago.  They would create a blue image in the TV when the speaker got too close.  If the speaker was shielded like a guitar can be this would not happen as the Faraday cage blocks the interference. 

 

You can also upgrade you bridge and tremolo (if available) on your guitar.  This can be a big improvement in the sustain of the guitar.  Then there are cosmetic things like knobs and so on.  You can also add new tuners.  Personally, I love locking tuners and have them on most of my guitars.  These can help your guitar stay in tune better and you can change strings in a matter on minutes.  Best thing is you do not need to spend hours stretching the strings out anymore. 

 

In a nutshell this covers upgrading and setting up your guitar.  There are plenty of videos and articles online that go into greater detail about the specific item mentioned above.  Finding a good guitar tech is key.  Search your area and read reviews, talk to you fiends and find the guy that is right for you.  If you are in the Brea area as I am you could try Rick Graham at the Guitar Repair shop (714) 256-4340.  All the guitars at A-Room Studios have been professionally set up and have had their pickups and electronic replace as needed.

 

Shielding link:

Is your band getting ready to go into the studio to record?  How prepared are you and your band-mates for this?  If you are well prepared the tracking will go smoothly.  If you are unprepared it will be a challenge and you will defiantly spend more time in the studio getting everything tracked correct.  Are all the drumming parts worked out?  Do you know where all your changes are in the songs?  Have you worked out the drumming pauses and accents with your guitarist?  Go through everything with your guitarists and bass player.  Are you playing every note right?  I have seen many bass players playing a wrong note in a verse or chorus this is the stuff you need workout beforehand.  If your band has two guitarists are you playing the strumming patterns the same?  Maybe in the verse you are but not in the chorus.  Have one of the guitar players sit down with the other guitar player and play your parts with just each other.  Then do the same with one guitarist and the bass player.  The tighter you can get the playing the better your record will sound.  This is also where pre-production comes in.  If it is in the budget do a quick pre-production recording to work this stuff out.  Or just record it yourself if you have the know-how.  This will save you hours in the studio.

Makes sure you have the tempo times of each song writing down when you come to the studio.  Do not just make them up on the spot.  Most of the time you will record them too fast that way.  Record the songs on your phone and make sure it is the right tempo.  Your drummer needs to be able to play to a click and do it well.  I will say this again your drummer needs to be able to play to a click.  This will insure the songs are played right from the start.  Are you going to be using your own gear or does the studio have gear available for you to use.  If you are using your own make sure it is fully functional.  Meaning the amps work and are re-tubed if needed.  The guitars and basses are intonated and set up by a pro.  All the guitars and basses at A-Room Studios have been set up recently by a pro-tech.  Make sure you have plenty of new strings and picks.  If you are using your kit does it have new heads and is it tuned up and ready to go.  If you are using the studios kit make sure you bring extra stuff like kick pedals, sticks, extra cymbals etc.  It is better to be over prepared then under prepared.

How are your vocals?  Are you still reading the vocals off a piece of paper?  If so, you are then you are not ready to record.  You must be so used to the vocals that you do not even need to think about the words.  Singing is hard enough.  Do not make it harder by fumbling the words while you are recording.  Have some hot tea and honey available or have your guitarists make a run to Starbucks.  This will help your throat and your singing.  Do not bring a bunch of people to the studio.  Only bring the people who need to be there.  Vocals are intimate having 10 friends around is not going to help you get the vocals tracked correctly.

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Instead of releasing a full-length album for a new band do one song or two songs, then one song... Then an EP. Then where you have a following do a full-length release. Starting a new band and releasing a full length right from the start can be tempting.  If you do not have everything below already setup then it will may not bring you want you want from the start.

You have to start building a network before you start your band/recording. This will take several months to get everything going. So, start this BEFORE you do anything else with your band.

 

1- Advocates - people who already have their own network

Examples music journalists, bloggers, people who run a podcasts, or run a radio show etc.

You first need to find the right ones. Example, find the radio show that plays only your niche of music and target them. Do the same with blogger etc.

When you look for these people be interested in them. Tell them they have a great show and you found several bands they talked about that you really like. Just start a conversation with them then later bring up your band. Later could be 2 week later or 2 months later. Just offer to help them first. Tell them you loved the band they had in last week. Tell them you are friends with this other great band (only if you actually are) and he/she should check them out and maybe have them on the show. Do what you can to help them out and they will probably return the favor weeks or months later when you bring up your band.

Do not just do this with one DJ or blogger do it with 5 or 10 at the same time. Then set it in your calendar to follow up with them. The follow up is the MOST important thing you can do. This will keep the communication open and you will be top of their minds when the right time comes.

 

2- Allies – other bands/people who you can cross platform with play shows together tour with etc

Other musicians, or engineers, producers, videographers, cartoonists, etc.
Depending on your genera of music you can collaborate with other artists. Have another band do a vocal track on one of your songs. Have someone play keyboard of your songs. Play on their song if you can. Go on tour together. Put out a split EP. Contact people involved in media, cartoons, youtube etc. Tell them you have a band and you would love them to use one of your songs. Do this with as many this as you can. Remember to ALWAYS follow with ALL of them.

 

3- Audience –

You need to perform live as much as you can. You need to play outside of your area. You need to do this as much as you can. Do not just play locally. Do it again and again and again. The more you play live the more people will hear your music. When you play make sure you have merch to sell. This is how they will remember you. CDs (yes, these are still a top seller at shows), t-shirts etc.

 

4- Hired guns

PR people, people who can help you promote. You need to have all the steps above done before you start to look for a person to PR or manage your band. Having all these 4 steps done and working and continue to be working is what record labels look for. You do not have to have the best band around to make this work. You could be the best band in the world but if you do not do these steps you will probably fail. If your band is mediocre and you follow these steps you will probably have a much greater chance than the better band who does not follow these steps at all.

 

Follow these above steps and you will be years ahead of other bands who do nothing (which is most of the bands around today).

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