Hello again my fellow artists;

I've set up a small studio in my home and am learning the basics of recording with a preamp (DMP3), Reaper and a couple of Shure microphones. Of course I'm just getting started; thinking I might upgrade to more complicated things as time goes on... then again...

It does seem awfully nice to waltz into a studio and have someone do everything for you. I like what I'm learning thusfar, however, and artistic control is appealing... not to mention the handiness of recording whenever you please.

But even if I stay on the home studio route, I could probably learn a lot from recording with pros once or twice.

Opinions, pros & cons of either option? I'd like to hear from more experienced artists than myself...

Thank you.

Heiress said:

I've never recorded in a studio, so take my advice for what it's worth. But I think if you learn all the capabilities of your home studio, then when you do go into a studio, you'll have a good working knowledge of what's going on. You'll be in a better position to get what you want out of the studio session.

That's just my guess.

The main advantage of recording in a studio is that you don't have to deal with all the technical aspects that you encounter whilst recording, that could be left to someone else while U simply plug'n'play as it where.

The home studio route however, is a good way to get to grips with some of the more technical aspects - for some it comes at the cost of their creativity.

I personally don't mind either but ultimately, I like being in TOTAL control of everything I do from conception to completion.

'dre
[Edited 4/2/08 11:31am]

I've only recorded myself & others, but I can imagine that I'd learn a ton by going into a studio, and it would benefit my own recordings.

I’m just now getting up the money and patience to start buying gear to record at home. And that’s only because I have a 7-month-old son and it’ll work out better for everyone. I’ve always hated the idea of having a studio at home because…it’s home.
Anyway, I’ve learned everything I know about recording by working with professional engineers and artists from lots of genres. Simultaneously, I was recording and mixing my (aborted) album, mostly on my own, with the knowledge and skills I was acquiring. While in overdub and mixing ocean, I began to see that although I played every musical note, the tracks I recorded on my own had more punch than those with engineers. They just had more energy, more heart and soul. Conversely, the vocal tracks I recorded on my own were inferior to the ones I recorded with engineers. The vocals with the engineers had better tone, pitch, and character. It’s totally left brain/right brain.
So when I get things running here I realize that I won’t be trying to do much vocal work. It’s either go to a different ( real) studio and do the vocals with an engineer, or invite an engineer to come over and track my vocals.

NDRU said:

Yep. With the right engineers, of course. Some can be as anal as artists. But if you're willing to learn, work, and step aside when they need to do their thing the rewards will be worth it.

Adisa said:

yeah, just watching them set up microphones, baffles, and the process as a whole would really be a great lesson--assuming they're good, like you say.

RodeoSchro said:

Mine too.

This is all very time-consuming, but I'm learning a ton here on my own.

DreZone said:

Yeah, I can get pretty control freaky about my final product... I sure like that part, having some time & leisure to redo things until they're just right, listening and relistening...

But on the other hand, it takes so many hours sometimes that we wish we had somebody doing everything for us! lazy huh?

Adisa said:

vocals are the hardest to get right anyway, aren't they?

takes me time to get in the zone. i'm most critical of my vocals... i've been singing since forever, but not recording... it's a whole 'nother thing, like they say. working with mics is tricky and i see where a pro could really help.

NDRU said:

i think "fastidiousness" is typical of the trade, eh?

Heiress said:

The most critical because you're telling a story or conveying a message. With engineers I usually never need more than 3 attempts. Tracking myself, I'm more focused on distortion, levels, etc. than trying to capture the performance, so I struggle to "get into character", if you will.

Adisa said:

I see...

I think for me it's exactly the matter of getting into character & less the technical side. At home I have the luxury of recording and listening to myself over & over so I do more with the vocals here.

If I were going into a studio, I'd be more prepared in advance...

Recording at home has the advantage that you have no-one telling you what to do or how you should do it or what would make what you just did better etc etc.


Recording at home has the DISadvantage that you have no-one telling you what to do or how you should do it or what would make what you just did better etc etc.

rocknrolldave said:

i have some willing listeners who readily critique my output.

this is important...

rocknrolldave said:

But that depends on the artist's level of security also. Starting out, I was an ultra control freak, because I was novice, but it made me feel inferior. As I grew in maturity and musical/vocal talent it became much easier to get myself out of the way and let the engineer work his magic. Hell, the last cut I recorded, in 2004 (damn it's been too long) I let the engineer produce and co-arrange the vocals. He's worked with several Grammy winning artists, and I'd known him for about 10 years already. He gave me lots of props for taking direction, as well as my technical skills. Then he shared some stories of "professional" artists who suck at singing and how he had to comp the hell out of the tracks.

once i get the €€ up to pay a professional studio, i'll come back and let y'all know if the magic works for me.

hopefully in not too long!

we've got some original stuff to record.

There's a lot to be said for being able to capture your visions regardless if it's perfect.

Where my head starts to spin is the Sound Engineering aspect of it all and where the frequencies lie in order to get something that is pleasing to the ear. Then there's mastering which I still have a hard time getting my mind around.