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You’re an aspiring producer, making beats, recording sounds, trying to make it all fit together, and working mostly out of your home recording studio. You’ve got some mixing chops—the problem is, when it’s time to do a lead vocal at your house, it just never sounds right. Ditto for that acoustic guitar—you don’t want to go direct anymore, but it’s just not sounding convincing enough when you have someone lay it down.

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If that sounds like you, read on: we’re going to give you some hacks for recording in your project studio. With a focus on those who make music out of their domiciles, we’ll walk you through the steps you should take for securing clear, natural recordings, from room treatment to microphone technique.

1. Treat your room for recording

Room treatment is not in any way sexy. Nobody wants to drop five hundred bucks on something that can’t make a sound. Sure, I could go on and on about how fantastic a modicum of room treatment will make your inexpensive gear sound. I also have great recipes for cauliflower rice, and you’d probably be just as interested in that.

Still, room treatment—especially in domicile-based studios—is essential, even if we discount room treatment for mixing (which we shouldn’t). But let’s say you’ll never take off your headphones when producing, no matter the pro advice. You should still outfit a segment of your workspace to achieve proper recordings. Crossover mac tutorial.

For vocals, you can get the cage that wraps around a mic stand, but I’d wager you’re better off actually treating dedicated portions of the room for recording. If you can only devote a segment of your room to audio capture, that may work out in your favor:

Sure, you may want to convert a closet into an iso-booth, but you very well stand a better chance with a larger, multi-use space, as is-booths are hard to treat correctly. Handled wrong, you’ll get a muddy, lifeless sound for a variety of acoustic reasons. It’s easier to achieve tonal balance in a part of your multipurpose room, believe it or not.

How to go about treating your room for vocal recordings varies on its shape, the materials of construction, and your budget. There is no one-stop solution I can provide, except to suggest that you do the proper research. Many companies, like GIK, offer free advice on how to go about treating a room on any budget. Other sources, such as this article, can be helpful.

And really, you ought to treat your room for mixing purposes as well. It goes a long way to securing mix translation. You can read up on where to do so here.

Treatment geared to both scenarios—recording and mixing—is essential, because there’s no such thing as a demo anymore. With shrinking budgets and satellite schedules, any serious producer is expected to craft material that could go out for mass consumption. The better treated your recording environment is, the better your chances of capturing a usable performance.

2. Invest in a solid mic chain

The same assumption here: your audio needs to sound as radio-ready as possible. You can work all your magic at the mixing stage, but if you’re a producer looking to create great sounds efficiently, it helps to have a solid recording chain to bring life to your audio on the way in. I’ve often heard breakdowns like, “50% of a good sound is the singer, 40% is the room, and 10% is the gear involved.” If you think it’s true, then it behooves you to go for that extra 10%!

It may take a while to save up for good recording gear, but even one channel is worth the expense. And, luckily for you, many interfaces in the sub-$1000 range sound great. Provided you’re working at sample rates at or under 48 kHz, Spire can act as one such interface since its preamps were made by Grace Design—a manufacturer of high quality, transparent preamps. If you don’t have the scratch to shell out for vintage gear or clones thereof, go for clean and transparent: you can vibe the sound later on with Neutron 2, Ozone 8, or Nectar 3, which all boast saturation settings.

Should you be backing up your data?

Yes! Whether you’re a newly minted musician, engineer, producer, digital artist, or a seasoned veteran of the loudness wars, we all face the same conundrum: what do you do with your digital session data at the end of the day? This is a challenge faced by everyone who creates any kind of content on a digital device.

How do you save your data? How do you know what to save? How do you keep track of all the stuff you generate?

Read on, friends. We’ll talk about some options and guidelines to help preserve your work.

Why should you back up your data?

Because you never know when you’re going to lose something or when a hard drive will fail

To keep everything organized so you know what you have

So you can monetize your creations

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So that you will always have a copy, even if the record label folds.

You’ll be in good company. Recently, I conducted an informal Facebook survey of engineers, and 100% of them reported using some form of data backup. More about that in a moment.

Here’s an object lesson. Once upon a time I made radio station ID music. This was high volume production work, with many, many versions: vocals/no vocals, tag/no tag; versions ranging in length from 2–60 seconds; English, Spanish, and French versions; rock, country, orchestral, and hip hop versions. You get the idea. After working on this project for three days straight, I needed to go home for a quick shower and a clean shirt, and would return later to QC all of the mixes. The session was done. What could go wrong?

In my two hour absence, a studio mangler (sorry, manager) decided that he needed hard drive space on the drive I was using—and promptly deleted 3/4 of the session, including all of the mixes. Apparently there wasn’t time to back anything up.

Result: disaster? Lawsuit? Expensive retakes? Fortunately, I printed a DAT tape (remember those?) for client approval and was able to lift the mixes from the DAT. But most of the session multitracks were gone forever. I expressed my displeasure by nearly tearing the control room door off its hinges. In retrospect, I probably should have put crime scene tape around my workstation. Or hired a canine guard. Or, realistically, asked one of the second engineers to run a backup.

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That lesson started me on my path to evangelize on behalf of good backup habits.

Data backup vs. archival: What’s the difference?

Let’s dispel any confusion about these terms.

Backup is what we do to copy our production data on a regular basis, and this copy is stored locally in order to quickly offload and restore files as needed.

Archival is the long-term, offsite storage of data that you don’t need to access on a regular basis.

Many of us practice a hybrid process, generating multiple copies of our data, at least one of which is in a secure location physically separate from the place where we work. For the purpose of this discussion, we’ll look primarily at backup and hybrid backup/archival solutions.

What should you back up?

Anything that you ever want to use again. You may not need to back up your applications folder daily, but any content that you generate as a part of the creative process needs to be backed up regularly. For music producers and engineers, this includes:

Session folders (containing all audio and session data)

Mixes (roughs and finals)

Mastered songs

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Any other files that you need to recreate a session

If you’re an artist, you may want to include lyrics, photos, demos, contracts, etc., even the voice memos on your mobile phone—anything that pertains to the creative IP (intellectual property) you want to preserve.

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Backing up your computer’s drive is easy. Using an automated backup program like Apple’s Time Machine will handle all of your OS backups in the background while you’re working or having coffee. There are several software options for backing up your sessions, like Carbon Copy Cloner, Acronis, or Synchronize Pro X.