Recording Strangers

So, when I record strangers, the vocalist is often the weak link in technique. Ps Ws Hs Ts bad mic work. I end up trying to fix by notching them with the volume fader, but ...
 
Next, I'm likely to get requests that  I can't follow. They say Fatten the Vocal when they mean they want a Naked Uneffected Vocal. Anyway, I have trouble understanding what they want. I have only once had a member of the band sit with me for an hour while mixing to give feedback. 
 
So, I like mixing music, but I have no idea how people do it professionally. I suppose getting paid may make working with strangers less painful or make the strangers more co-operative.
 
And I love doing it. I love it after the fact, but usually as I finish with a recording, I'm pretty glad to be done.
 
Just curious for feedback. Any tips for making recordings of bands that aren't yours. How do you interface the band? How do you ask for feedback on the tracks? How do you deliver the final?

Daaaaaang. Really? Only one band member sat in with you to give feed back? 


Back in the day when I would rent out studio time ...I'd be there until the dude was done mixing giving feed back. 

Shame of those musicians. 

Seriously ... To me ... It gives them no right to criticize or not like the final product if they didn't sit with you through a bit of every song to give you direction. Maybe not the WHOLE mix ... But enough of the mix so they have made clear what they are after ... Sorry man ...


Good luck to you ... I love doing it too 

@Mooch4056 Thanks!! It would be sooo much easier that way.

I've read all those books, watched all those videos, made all those mixes. I think if I could have regular feedback, I could deliver exactly what they want. 

It's so super hard when the feedback is vague. The original tracks are flawed. And you are expected to make multiple final mixes of each track so they can pick. It's such a super hard way to mix.

@DJWayne Thanks!! That's great advice. You know, mixing music that I don't really like listening to is another major challenge. If I find myself not wanting to listen to the mix on the way to work, that says a lot.

@Sharke Maybe the whole problem is that I'm seeking out people to record. I get bored just mixing me and my friends. I like trying different bands. I learn things mixing others (like the tube saturation I get from my $40 USD ART Tube Pres Sux compared to the Pro Channel Saturation Nob or tube sat plugs).

I think the cost of the deliverable is kinda high though. I'll record 3 hours of music in a garage or a bar and it will take my 60+ hours to mix if I race through it. I could do a sloppy job, but it's got my name on it. I offer the original WAVs in case they'll make their own mix that I can learn from, but that never happens. I do this for free and I can end up feeling resentful which is no good for anyone.

One time, I was letting a female singer use one of my more expensive mics (expensive to me - few hundred) and I had a pop filter on it. She didn't want the pop filter, which I was fine with, but not with that mic. I replaced it with a cheaper mic that was easier to clean. She complained and complained on stage. I made sure a lot of the complaining made it to the final mix. I heard she was ecstatic with the final mix. Go figure.

gswitz



I think the cost of the deliverable is kinda high though. I'll record 3 hours of music in a garage or a bar and it will take my 60+ hours to mix if I race through it. I could do a sloppy job, but it's got my name on it. I offer the original WAVs in case they'll make their own mix that I can learn from, but that never happens. I do this for free and I can end up feeling resentful which is no good for anyone.

Your a lot like me on the entire process.  I do it mainly out of fun and to learn but ya have to get something for your time and investment.


I try to make them feel where I come from with it and usually end up with free meals, drinks, throughout the process while having a good time and most of the time walk away with $100-$200 in tips for time and expenses as well.


One thing I push once everything is set up and ready is for them to just be their selves and act like Im not there.  They know if their not happy with a take and will rerun it at their discretion.  I do get them to pause for a second inbetween takes/songs to allow for a fast Save/Save As and then take off running again.  I feel my place is to capture the best sound I can to work with and rarely feel a need to address how they play or perform something.


In the end they feel like they had control the entire time and know what they produced for you to work with and will be happy with what "They did". You just take it back, take your time and give them a good mix as you feel it should be.  I let them take that (give them some time with it and a note pad) write down any thing they feel they would like to change, add, etc... Most of the time they will be TICKLED PINK with what you do for them and will compensate for everything even if you dont ask for it

Alot of my work is recording lengthy sessions of multiple songs.

Once we have done the tracking session itself, which most of the time might be their practice somewhere, Ill pack up and keep in touch with them.

Once I get back unpack and set up for mixing,
I break the songs down if I havent done it into single song takes,
I find the one song I want to start with and start picking away at it.
When you get to a point where Im happy with it Ill do a Save As - Master for a template
Close out and open that file up and wipe out the clips and save it.

Then from there on out I open this Master up and Drag and Drop all the songs in one at a time and do a Save As on each.

Then you are close to being ready to start doing the picking away, cleaning up, adding, and mixing what ever you think it might need.

When I get them all lined out somewhat Ill burn a copy, go grab a 12 pack of Budlight and pay 'em a visit or they come over and we sit and listen and chat about it.

I like to give them all the time they want to listen and make notes suggestions at their own pace and then get back to me.

Make the changes and let 'em have at it  

This is just a very short version but to the point I guess

Starbuckle


 They have no understanding of the subtleties of microphone work in the studio.

It will also simplify your mixing and eq process, giving them a much better end-product.  This may be a blessing in disguise! 

Duke

That is a VERY Good point Duke.


One thing I do is a little chat with people before hand and bring this exact thing up (As just a heads up to them)


Position on the mics, Not to get to carried away on the drums as far as real light hits to bone crushing hammers, and dont ever change volumes on any of the cabinets or FX while in the middle of recording

Really makes it easier on us in the end and less chance of something happening and wrecking a track

Thanks Digi2ns. I like the idea of saving the songs in different projects. I don't usually do this. Normally, I mix them all in the same project.

Starbuckle, I like the idea of the example of bad recordings.

Thanks for chiming in. I also like the idea of stepping away for a few days. It really makes a difference.