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First Time Going to a Real Studio

J Posega

J Posega

Cat Dad and Dingwall Enthusiast
Inactive
Suspended
Jul 16, 2005
11,796
17,172
38
Portland, OR
#1
I've been asked by a singer-songwriter (well, I was actually asked by the guitar player she's been jamming with since we were in a musical pit together) to join her little group to go to the studio at the end of the month.

I've never been in a real studio before, so I'm not sure what I need to bring. Obviously my basses. Should I bring an amp? They seem to have really nice, world-class gear. I'd love to just go in and plug into whatever they've got, since I know my Dingwall will sound good through almost anything there. I just don't know if that's cool what I should expect to be able to do. Would I be expected to pay some kind of fee to plug into their amps?

I would just call and ask the studio, but I don't want to go in sounding like an amateur. I'd like to make a good impression since they often call up local students for small recording projects. My goal is to go in, humbly nail my parts, and not waste time; in hopes of impressing some of those that work there so I might make some more connections in the local music scene.

The studio is SubCat Music Studios in Syracuse.
 
#3
Relax. be prepared, put new strings on before the recording day so they are just nicely broken in.
Know the songs as well as you can. Be early, I dunno why but bass players usually are.
I don't think any studio charges to use their amps. With bass you can go a number of ways, through an amp's DI, miced up thru an amp and cab, or directly into the desk via a DI or pre amp. Or all three. Ask the artist what they want in this regard.
Network network network, try to find out as much detail about the process without sounding too noobish, though, people repect honesty rather than someone pretending that they know it all.
Good luck, and have fun.
 
#4
I understand where you're coming from with the new strings comment, but I feel like they're finally the right amount of broken in. Is it really necessary or just preferred for tuning reasons?

We're going into rehearsals tonight and the songs aren't exactly tough so I'll definitely be comfortable with my parts by the end of the month.
 
#5
honestly bro if it's a nice studio just bring your axe. and bring a 12 pack of beer so y'all can mellow while recording. that's about it. don't get psyched out or worry about "the take" or anything, just enjoy the experience, take it all in and play well. when they ask if they need to redo a take, be honest. if your flubs were terrible and out front, don't be shy and say "yes i could use another pass", if your flubbs were miniscule and unnoticeable to anyone but yourself or a critical listening bass player, you're good. that is if you're tracking live together, not sure.

ALSO VERY IMPORTANT - if you do a take and it didn't sound good to you but the producer and artist dig it, bite your tongue and roll with it. they are paying for you, you are there for them, whatever they want they get. if they give you freedom great, if not just do what they want.

they will have a di, amp, mics, etc. just tuner and bass is good. bring a business card in case you sound good and they want your info.

one main thing is i try and have the changes down but i don't over-rehearse. i want some improv spontoneity to create something while i'm there, in the moment. but that's just me, i'm fly by the seat of my pants style, if that's not you no worries.
 
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#6
markjazzbassist said:
honestly bro if it's a nice studio just bring your axe. and bring a 12 pack of beer so y'all can mellow while recording. that's about it. don't get psyched out or worry about "the take" or anything, just enjoy the experience, take it all in and play well. when they ask if they need to redo a take, be honest. if your flubs were terrible and out front, don't be shy and say "yes i could use another pass", if your flubbs were miniscule and unnoticeable to anyone but yourself or a critical listening bass player, you're good. that is if you're tracking live together, not sure.

ALSO VERY IMPORTANT - if you do a take and it didn't sound good to you but the producer and artist dig it, bite your tongue and roll with it. they are paying for you, you are there for them, whatever they want they get. if they give you freedom great, if not just do what they want.

they will have a di, amp, mics, etc. just tuner and bass is good. bring a business card in case you sound good and they want your info.

one main thing is i try and have the changes down but i don't over-rehearse. i want some improv spontoneity to create something while i'm there, in the moment. but that's just me, i'm fly by the seat of my pants style, if that's not you no worries.
Click to expand...

I should get some business cards made up.

I'm not super worried about it. It's mostly a favor to the songwriter girl, who I haven't even met yet. I'm just excited to actually get to go into a real studio and put my name on something. If more comes of it, cool. If not, I at least hope we can continue playing through the summer.

The other three (singer-pianist, guitarist, drummer) have been playing together a couple months. Tonight is my first rehearsal with them. I'm going to channel my inner Sklar and just let the song dictate it's needs.
 
#8
markjazzbassist said:
yeah man great attitude. it's always nice to record in a studio and just build the resume. i personally love the studio so for me just the experience is gratifying to create something (i always try to get paid though unless it's a friend, gotta eat man).
Click to expand...
Yeah, I'd like to get paid... but we're all students. She won the time in the studio.
 
#9
J Posega said:
Yeah, I'd like to get paid... but we're all students. She won the time in the studio.
Click to expand...

yeah that's how my first band when i was 19 recorded our record, won studio time. i hear you on not getting paid, i'm just saying a lot of musicians these days work for free give away records, etc. i don't roll that way. you need to take the free gig because you don't have experience, but maybe after a couple more sessions you decide to start charging because you feel you have the hang of it and you're worth something. there are always exceptions but on the whole i believe artists should be compensated. unfortunately the american public does not.
 
#10
J Posega said:
I understand where you're coming from with the new strings comment, but I feel like they're finally the right amount of broken in. Is it really necessary or just preferred for tuning reasons?
Click to expand...
If you're happy with them, leave 'em alone. I restring my 6-string and 12-string guitars before I go to the studio, but it's taken YEARS for these flats to get into the sweet spot. Be sure to re-tune before every take ... no exceptions. Nothing worse than nailing the part only to find that the D string is flat 5 cents. I disagree with the comment "don't over-rehearse" ... in the studio time is money ... know your parts perfectly. Studio improv is just a money burner. Don't be ashamed that it's your first time in the studio ... everyone had a first time. The engineer (if he's any good) will guide you. Call them, find out if and what kind of back line they provide. Remember, no one knows your tone and your gear like you do. Likewise, the engineer knows his backline and what it can do better than you do. I always bring my amp and cab(s) to the studio. I don't always use them.

I looked up the web site. A bunch of Ampeg cabs, an SVT-4 Pro, a Fender Bassman. IF you need FX pedals and such, bring 'em.
 
Last edited:
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#11
When recording bass guitars, how much treble I want / will need depends entirely on the song / style. But I'd say err on the side of brighter rather than deader, if that helps your decision to put on new strings or not. The engineer can easily roll off the treble but you can't add it in if it ain't there.
 
#12
I am also going into a real studio for the first time pretty soon. Oranjudio in Columbus, OH. I am pretty excited and somewhat nervous. We have been practicing with a click and seem pretty tight. I can confidently say we are prepared.

It seems on some aspects I have no clue. Like tone..I know my own amp, but sending a direct signal seems like a different beast. Never done anything like that. Also, what if I play 95% of the song dead on, but mess up the very end? How hard is that to fix? Even if we are recording in a psuedo-live(dont know the correct term for this) full band style? These questions seem like something the producer would handle, but yeah I am a NOOB when it comes to this.
 
#13
And I said:
When recording bass guitars, how much treble I want / will need depends entirely on the song / style. But I'd say err on the side of brighter rather than deader, if that helps your decision to put on new strings or not. The engineer can easily roll off the treble but you can't add it in if it ain't there.
Click to expand...

Well, it's far too late for me to get strings for my Dingwall anyway, but it gets mighty zingy if I just open the tone control all the way up. I may just record it that way and have them cut the high end in while mixing, since a subtractive process is easier. I took a Record Production course this semester, actually, so it's cool to be gearing up to actually see how the process really works from the artist side of things.

Lizardskyball said:
I am also going into a real studio for the first time pretty soon. Oranjudio in Columbus, OH. I am pretty excited and somewhat nervous. We have been practicing with a click and seem pretty tight. I can confidently say we are prepared.

It seems on some aspects I have no clue. Like tone..I know my own amp, but sending a direct signal seems like a different beast. Never done anything like that. Also, what if I play 95% of the song dead on, but mess up the very end? How hard is that to fix? Even if we are recording in a psuedo-live(dont know the correct term for this) full band style? These questions seem like something the producer would handle, but yeah I am a NOOB when it comes to this.
Click to expand...

So the whole band is laying down their tracks at the same time, but everyone is recorded discreetly onto their own channel? As long as it isn't super old-school, 2-track style where everyones in the room and you're sharing mics, it'll be very easy to go back and re-do parts that need help.
 
#15
I do it a lot from both sides and I still think it's really cool how the whole process works!!! :D

Tell the engineer you have the tone knob on your bass at full tilt and let him/her tell you to back it off it they need you to. A good engineer will make the sound work for the song. A really good one will get you to play it the way it's supposed to sound in the first place.

Have fun!
 

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