[Dixielandjazz] Thoughts on recording a demo

[eupher dude]

We (KC Clarinet and I and a coupla other guys) hit a studio last night, a 
very generously done-for-a-friend-for-gratis session.  While it's not a 
full-blown professional studio by any stretch, the small room really had a 
good inherent sound.  I say, SMALL.  5 was tight, no baffles, no soundproof 
booths, just the 5 of us with a mic hopefully rejecting most of the other 
sounds.  Good absorption in the room, not too much, as I said, a good 
sounding studio room.

I've commented on TubaEuph in the past, there's one recording engineer in 
town told me the mic HAD to be in the bell, since I was the time and pitch 
of the band.  BULL!  Never, EVER, IMO, should ANY instrument have a mic in 
the bell except for specific sonic purposes.  The few Broadway tours I've 
played usually want that, but they want a more synthetic tuba sound for some 
reason.  I personally hate that sound.  Wynton Marsalis, at one time at 
least, wanted his bell surrounding the mic.  ('nuff said about that)  Any 
wind instrument has a  lot of tonal quality developed outside of the bell, 
and it just doesn't sound like a well-played instrument (IMNSHO) if that 
natural sound isn't allowed.

But, I digress.  Hobbyist or not, and he's just not a full-time audio 
engineer, but has a very impressive array of equipment and knows how to use 
it, the engineer last night said nothing to me about mic placement.  I set 
it where I wanted it, for the tuba, and he let it be.  He did position 
things for the other guys, who (aside from the fore-mentioned Clarinet dude) 
hadn't really done much recording, if any.

What we got, and it isn't down to a final mix yet for this demo project, was 
a very good quality recording of some decent playing (again, IMNSHO).  I 
always have qualms about my tuba sound being doctored by a non-brass 
experienced producer, so I'm planning to get back to the studio to at least 
set the standard.  "It's my sound, dammit, and I'd better have some input, 
within my abilities, on what I sound like."--uttered at a different 
studio...

I was struck that the inexperienced guys, who are all experienced performers 
of many years, weren't really too awe-struck by the recording environment.  
Good to a large point, bad to the point that they weren't paying a lot of 
attention to the engineer at first.  I'm very much of the opinion that the 
engineer is the master of the session, within reason, when it comes to 
things about the technical recording. (Esp when you're paying...why waste 
time when he's an expensive place setter?  And, in this situation, let's not 
waste HIS time!)  Eng. came into the studio, was trying to make some 
suggestions about things, and they were over there jabbering and having a 
grand old time laughing.  It was pretty damned loud, in a sound-dampened 
room!

Eventually, things got worked out, the mics and people were set, and we got 
going.  The usual fraps and fracks and screw-ups, but we got a good 35-40 
minutes of final product.  No, we didn't do  any punching or multi-tracking, 
but we wanted the live sound.  I think it's going to be a good tool for 
promotion.

Then, we went upstairs to his coffee shop (yes, this was the basement of his 
business) and played for about 15 minutes, for free...well, as barter for 
his studio time.  I really think we owe him more time, but the few people in 
there when we started playing quickly left.........maybe he doesn't want us 
to play there after all??  ;)

The argument could be made that we should have taken more care on a demo.  I 
dunno.  I know my string bass playing leaves a lot to be desired, and I wish 
I could go back and fix that, and my singing certainly lacks (I have a 
classic barely-tone voice) and I probably can't fix much about that.    But, 
based on what I heard from the raw playbacks, it works.  Style is always 
arguable.  Taste is in the beholder's ear.   Maybe it won't get us any work, 
then we'll know to do it better next time.

Any thoughts?

steve "can you tell I'm bored tonight??"  hoog

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