When I have been hired to do sessions , I always tried to get it right the first time and hoped I could get it done in two . I always hated the thought of costing someone extra money because I couldn't do my job .
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How many takes you do in a recording session?
- Thread starter Think_Bass
- Start date
Yeah, I used to feel that. And if your experience has been limited to clients who only make reasonable requests, then my hat’s off to you. But over the decades I have run into Thoroughly Unreasonable Clients.
Last year I ran into a guy who had sequenced all the parts for his musical; they were of course practically unplayable, but we did our best. But one groove that really hung him up was a staccato – legato rhythm. He kept saying “could you play that first note more legato?“. After at least five takes of the same section I explained to him that it was physically impossible to play it any more legato since my fingertips had to touch the previously-played string in order to play it again, and that occupied a non-zero amount of time.
So it’s not always about “couldn’t do my job”; it’s about “couldn’t do my job to the clients satisfaction” which is a more complex formula also involving client experience and expectations.
I’ve run into clients that insisted I work with their brother-in-law, who was a drummer (or at least “who owned a drumkit”), and then had to stay behind trying to match their errant kick drum. If I let stuff like that be about “me being unable to do my job“ I wouldn’t have retained the shreds of sanity I’ve managed to retire with
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I have had this happen with guitar. My brother wanted a track on his song - he told me what he wanted. I recorded a track and he said NO. I did another track and he said NO. I did a third track and he said NO. After that I said, do yourself. His track sucked (as far as I was concerned).
At some point you just have to say you are not conveying your vision or you are an a-hole. My brother was an a-hole.
I have stressed more over what wine to have with my chicken / broccoli fettuccini. Enjoy music and food - if you are unhappy, make a change.
At some point you just have to say you are not conveying your vision or you are an a-hole. My brother was an a-hole.
I have stressed more over what wine to have with my chicken / broccoli fettuccini. Enjoy music and food - if you are unhappy, make a change.
Yeah, lotta factors. In the studio it's often about the drums/bass interplay if that's how its being tracked. If I'm overdubbing by myself, then usually a take or two. Quite often I'm asked to do a slightly "busier" take 'cause I err on the side of less is more!
Tracking remote at home, I'll get my hands dirty with other things, for example going in and cleaning up any little unwanted noises in the spaces, even scooting audio around the beat to see what really nails it (the stuff the producer/engineer on the other end would typically do as well). I like to send really finessed tracks.
Tracking remote at home, I'll get my hands dirty with other things, for example going in and cleaning up any little unwanted noises in the spaces, even scooting audio around the beat to see what really nails it (the stuff the producer/engineer on the other end would typically do as well). I like to send really finessed tracks.
1 to 3. Most times two.
In a real studio I never recall ever being afforded more than two or three takes to nail it. But I try to come in over prepared so I can almost always nail my tracks in one or two takes
I had one producer tell me if the bass can’t get it in three he usually just waits till the band leaves and then either rerecords it himself or has someone from the studio do the track. He said he tries to avoid taking studio time away from the vocalists because they’re always demanding “one more take” - and they usually need it.
In a real studio I never recall ever being afforded more than two or three takes to nail it. But I try to come in over prepared so I can almost always nail my tracks in one or two takes
I had one producer tell me if the bass can’t get it in three he usually just waits till the band leaves and then either rerecords it himself or has someone from the studio do the track. He said he tries to avoid taking studio time away from the vocalists because they’re always demanding “one more take” - and they usually need it.
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I'm pretty sure I remember a quote by Frank Sinatra who said hated more than two takes. Maybe it was for vocals, but they all recorded it together live in those days, but he said after that, the freshness and immediacy got lost, and that it basically became a slog.
I don't pretend to be quite so exacting, but for me its three.
I don't pretend to be quite so exacting, but for me its three.
If I can't get it in 3 takes.... I didnt rehearse it enough before I got there.
I never...And I mean never, had the "luxury " of writing songs in the studio, or any other tra la la let's try it 14 different ways stuff in my small recording experience.
We were always on the clock..and on our own dime.
We'd rehearse the $&#% out of whatever we were gonna record, and then maybe one time through to hear how it sounds, then adjust to taste, then 2nd time through...boom.
Granted, the first 3 or 4 times I was in a studio, it was either a 4 or 8 track analog set up and we were recording live, mostly. With mikes!
The last few times was digital and individually recorded parts. But even then it was a get -in get-out kinda thing.
I never...And I mean never, had the "luxury " of writing songs in the studio, or any other tra la la let's try it 14 different ways stuff in my small recording experience.
We were always on the clock..and on our own dime.
We'd rehearse the $&#% out of whatever we were gonna record, and then maybe one time through to hear how it sounds, then adjust to taste, then 2nd time through...boom.
Granted, the first 3 or 4 times I was in a studio, it was either a 4 or 8 track analog set up and we were recording live, mostly. With mikes!
The last few times was digital and individually recorded parts. But even then it was a get -in get-out kinda thing.
1) The producer is always right. (Even when they're wrong.) And...
1a) Get the check before you leave.
Depends on the time allotment: if I'm recording parts to Dropbox to a client and I have time, I'll do multiple takes and, depending on the producer, I may even quantize edit the parts to the bar for them ( many love when I do this for them).....if it has to be done quick, it will be one or two takes of a series of short punches that I can copy/paste when warranted......if I'm in a studio on someone else's dime and there's charts already available, one or two complete takes
I’ve never had to do more than three in studio. If I’m contributing remotely, I’ll go until I feel like it’s as good as I can make it, depending on how much time I have. The more you listen to something you’re truly engaged with, the more possibilities you hear. But eventually you lose your muse.
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If I'm recording for someone else, I think it's good to provide options. 2-3 full takes seems reasonable.
If I'm hiring someone else to do a part for me, I'll usually ask for at least two takes, again, to have options. Usually the two takes are different enough that I might want to pull a bit from one here, and a bit from the other there.
If I'm hiring someone else to do a part for me, I'll usually ask for at least two takes, again, to have options. Usually the two takes are different enough that I might want to pull a bit from one here, and a bit from the other there.
paid, in person sessions; the goal is nail it the first time, but sometimes the second take just feels better. I rarely do 3, but it happens. I really try to do solid full takes and I hate punch-ins because I feel like you can lose the groove/feel very easily and the punch-in part can seem a little off ... but they do happen.
remote sessions in my personal studio; once they give me some idea of what they want, I'll do many (4-6 or so) then go back and listen to see which one works best IMO. That's the one I send, unless they want me to send multiples and choose themselves. If they're payin, I'm playin'
remote sessions in my personal studio; once they give me some idea of what they want, I'll do many (4-6 or so) then go back and listen to see which one works best IMO. That's the one I send, unless they want me to send multiples and choose themselves. If they're payin, I'm playin'
I try to leave the engr with as little or no fixing at all but that potentially leaves the track hanging. So the balance is take longer to get a great take..from a bass point of view, or leave the engr with a lot of tidy up time.
It all transfers into hours to pay for but I try and get to understand how much the track is about the bass...or how much, it isn't.
It all transfers into hours to pay for but I try and get to understand how much the track is about the bass...or how much, it isn't.
- Jul 7, 2010
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- Endorsing Artist for: Duncan Pickups; Line6, Hipshot, GHS Strings, Somnium Guitars
If you are recording for someone else's work, then you record what producer/artist would like. It's just part of the recording/production process.
If it's your song and the parts exactly what you hear in your head for the song, then you can record what you like.
Now saying this I will record 2-3 tracks for my self to see how it effects the overall song.
If it's your song and the parts exactly what you hear in your head for the song, then you can record what you like.
Now saying this I will record 2-3 tracks for my self to see how it effects the overall song.
Sometimes you know you nailed it and everybody else in the room feels the same way , but the guy behind the board says "one more time and play it like you mean it". One time after a 5th take , I ended up playing on the floor in a closet......a real closet to get what he said was the perfect take .
Last time I was in a studio was over a year ago. We recorded a three-song demo of originals. I would that say we averaged 2-3 takes for each song. The engineer recorded all first takes, and we used some, along with twos and threes. The mixing process took the longest.
As many takes as it takes
I’m sure I’ve done 50+ passes at a part, though that usually means the part was developing and changing with each pass.But this is at home with me as engineer. If I was paying somebody, I’d probably do takes 1-47 at home, then 1-4 passes in the hired studio
JazznFunk
Supporting Member
Coming from a jazz background, I am a 'do it all in one take' player, regardless of the setting. It's a discipline thing, stemming from the analog days - even when I recorded on my little Tascam 414 cassette 4-track. So, that means I like to do at least a couple of *full* takes with the group.... maybe 3 depending on the collective vibe. I don't like to punch in unless I have to, and am cool with comping if necessary, as long as I know it's not getting into a micromanaging chop and paste production deal. Any time it's in a studio where the money meter is running, it's all about efficiency. BUT - if you notice something that really isn't right (even in another part), speaking up to fix it should always be priority... even if it takes a little extra time.
If it's a pre-recorded deal where I'm adding bass after most everything is already done, it still applies. A session from my home studio where the money meter isn't running gets the same treatment, although I allow myself more leniency to punch/edit.
If it's a pre-recorded deal where I'm adding bass after most everything is already done, it still applies. A session from my home studio where the money meter isn't running gets the same treatment, although I allow myself more leniency to punch/edit.
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