The 8 Commandments of Home Recording
Arthur Nasson shares the rules you need to know, lest you be smited by the home recording gods. Photo by Jeff Haynes.
[In case you were wondering, there wasn’t enough of a budget to do 10.]
Large recording studios have been closing at an alarming rate. Dropping left and right. Not just in the less trafficked ‘burgs, but more shockingly, in music industry epicenters like New York and Los Angeles.
Still, there are many bright spots in today’s audio industry and it’s still important to create great music because that’s the sort of thing that—best case scenario—enriches society and helps us attempt to evolve. So we look to the future in spite of the obstacles, and embrace the good news that the home studio hang is booming.
Yes, I too have wistful moments where memories take hold of being in a studio with a console that looked like it could be used to land spacecraft. (Though the last time I was in a studio like that the console was used as a coffee table)
Of course, do whatever you want, and if you have the budget, throw any kind of party you like. The crux of this polemic is the reality most of us currently face. Which is tallying up what a million streams pays.
So audio fetishists, retro enthusiasts, unicorn chasers, and the like, it’s time to admit there’s a problem and to seek the help so desperately needed. As the world of recording evolves, there is still much good news. Many mid-priced studios are seeing steady streams of new business from people who may do part of their project with them. This is a bright spot for many who have flexible enough rates that they can accommodate self-funded and budget-conscious projects, and additional work outside of the music industry.
Many of the larger studios are even opening up overdub, writing or rehearsal suites to stay competitive in a changing landscape, which is way cool. There are probably many forms this continued evolution will take, but one thing is for certain: Given the current state of affairs, solutions need to be flexible and cost effective.
When people ask me about my home studio and methods, I quickly explain to them, “Look, my main focus is trying to get away with murder.” (In a figurative sense, of course.) Which is how I recorded my two latest releases. The full-length album Whack Mythology and the EP Basement Glitter were all done at home. Yes, those big slamming drums were cut in my apartment with three mics on ’em—and no samples!
My piano is an 80-year-old upright with a Shure 57 balanced near the bottom of the soundboard (cuz I ran out of mic stands.) Guitars were done in many ways from amps to direct recording. Vocals were done right there in the apartment, where they at times faced interruptions from the mailman, police car sirens, and disgruntled neighbors. Welcome to the future.
I’m reminded of a conversation I had with an audio wizard who rebuilt tape machines for major recording and mastering studios, and even made his own analog tape.
While talking about the most critical technical elements in making a good recording and scoffing about what we considered fluff, he asked, “Hey Arthur, why do people spend upwards of fifteen grand for a vintage tube mic when a hundred-dollar Shure SM58 sounds just as good?”
It may be a little bit of a stretch—but we had quite a laugh. And now, in that spirit, the 8 Commandments of Home Recording:
1. Thou Shalt Not Covet Another Person’s Stuff
Oh, watch out, ye, for the dangers of lust. Yes, people oooh and aaah at the very expensive stuff. For some, the sheer exclusivity makes the equipment all the more desirable. Sure, some of that stuff really is great, but let’s be serious: No piece of gear is going to rescue you or your project.
Those old recordings you’re thinking of sounded great because those artists sounded great, and because the engineers and producers knew what they were doing. We can all name tons of examples where the same artists still sounded great when they used relatively inexpensive stuff to make records.
2. Thou Shalt Not Forget to Listen
A good listening environment will still be critical to every aspect of the process. Most studios fail miserably at this. Some don’t even list the monitors they use on their websites, ’cause they’re so jacked up about some new compressor or channel strip they forgot what they are there to do: Listen well and make good decisions about what they hear.
There is nothing more important, in my opinion, than being able to accurately hear what you are doing. It’s not about money, It’s about choosing the right speaker design for the job, and a few thoughtful ways to improve and understand the room you’re in. There are many good speaker options under a thousand dollars, some well under five hundred that can be even better tools than the stuff that costs as much as a decent used car.
3. Thou Shalt Not Cheese Off Thine Neighbors
Drum tracks at 3:00 AM? Think again. Opening up a Marshall stack while a neighbor is home with a 103°F fever, a migraine, and some nice projectile vomiting? Not a great idea.
You would be surprised at the people who make this critical mistake in judgement. If you’re a city-dweller like me, your schedule is not your own. Be kind to your neighbors and they in turn will likely be more generous in their patience with you.
4. Thou Shalt Not Bear False Witness
When the cops finally do show up during one of your “tracking sessions”, whatever you do, don’t run for it. This typically doesn’t go well, and in today’s trigger-happy world could be a real career-ender. (Even if it is great publicity, someone other than you will ultimately be raking in all those streaming royalties.)
Set up someone you can call who will post bail if need be. (And not anyone you’re romantically involved with, as they may prove to be momentarily overtaken with spite and leave you there.)
5. Honor Thy Total Lack of Resources
It’s the future, we all have decent tools now, and the proof is truly in the pudding. I work with a 4-channel Focusrite interface, a few mics and Logic Pro 9—with no external plugins, because I see no need to add any.
This is a blessing, not a curse. Sure, there are great plugins being made, but the stuff that comes with Logic is amazing, easy to modify, and in shoot-outs competes with or surpasses most anything out there. When it comes to making music the most important thing is staying in the game and getting good.
6. Thou Shalt Not Make with (or Get Weird with) Any Graven Images
Worshipping objects is way out there. Come on, this is obvious, drop the whole “graven” thing, I don’t even like the sound of it. Ever see someone so enamored with a piece of gear it becomes some sort of obsession? Really, enough with the graven.
7. Thou Shalt Not Take the Studio’s True Intended Purpose in Vain
You’ve gotta look out for false prophets. Let the smiting begin! Aside from dubious hangers-on, and record company parasites, there are typically two kinds of people you’ll find in a recording studio: Those who like to be surrounded by toys, and those who are involved in some aspect—be it technical or musical—of trying to create something. Figure out which one you are and recognize that one of those people has overstayed their welcome.
8. You Shall Be the Walrus
It’s the songwriting that matters. It’s the performance that makes a difference. The artistry and ideas are the only difficult part. Tons of people can play a little, sing a little, record a little. It’s just not that difficult. Particularly with today’s technology. Here we are in a place where most anyone can make a presentable recording.
Given this, it’s glaringly obvious to see how incredibly rare it is that anyone can elevate this to an art form, or for that matter, even do this passably well. The defining factor in all of this is no golden idol. It is talent and vision.
Now go forth and do cool stuff.
Arthur Nasson is a self-recording singer/songwriter, a multi-instrumentalist, and a producer based in Boston, MA. His latest album, Whack Mythology is available on iTunes.
Listen to Arthur’s single “You’ll Never Change” below, or visit him at arthurnasson.com for more.
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