Hi- I have recorded a friend's band that is a typical four pieces -- (drums, bass, lead guitar, rhythm acoustic / electric (also the lead singer) and occasionally the lead guitarist sings); in a bar / club setting several times, with some pretty good success. This time they asked for a "cleaner" more studio-style recording for a new demo CD. I am more interested in the process/ steps, since I am pretty much stuck with the current equipment. My home studio is way too small, but I have access to some nice - quiet large conference room settings in an office building unoccupied on weekends. The band has a typical array of decent dynamic mics, run through a Behringer Eurorack MX2642A, to their PA. In the live recording I came off the direct  ¼ inch outs of the Behringer- to my Yamaha MG102C (10 channel) mixer, so as to have my own versus the “house levels” – then this all down to just a two channel USB, Focusrite Scarlett 8i6 --- into my DAW – X1.  Crude compared to a lot of set ups, but surprisingly good results. I have a few condenser mics large and small – some of which I worked in as overhead on the live drums before. So anyway – any tips for how to step and sequence this project for some multi-tracking of the band will be very appreciated.

 
Two major considerations.
 
1) Can the members of the band do multi track overdubs or do they need a lot practice with that?
 
2) Can the band play through live so cleanly that there will be no need for overdubs?
 
Most of the time the answer to both or either is "maybe".
 
The best *sounding* album will be built up from a basic rhythm track with lots of clean overdubs, but it will require good overdub skills and the ability to make overdubbed performances seem full of life.
 
Te best *feeling* recording will be a single great take played live. It can sound really really good if the players are so tight that you can concentrate on the sound rather than become distracted by rescuing a clam right in the middle.
 
As you learn what each member of the band can help with, you'll figure out when, where, and how to get the best out of them and you'll probably develop a work flow that is hybridized between live tracking and multi tracking that is personalized to the band.
 
Start thinking about isolation strategies and ways that you can have the performers track rhythm tracks with a minimum of microphone bleed.
 
 
best regards,
mike
 
 
 
 

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how embarrassing is that?

I echo what Mike said on his 2nd, 3rd, 4th, 5th and 6th posts? Allow me to do that officially by saying,
 
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Now in addition to that I would add, that the best technique "bar none..." Is to;
 
1. Have the band jam on the song and determine the BMP.
 
2. Create a project with that BPM, and have the guitar player (rhythm) play along with the tick track, maybe with a singer, to establish a scratch track with guitar and vox.
 
3. Have the drummer listen to the click track, along with the scratch track, and "track that drummer..." Listen to it? Quantize it, fix it, compress it, spread it, saturate it, mix it, excite it, EQ it, create envelopes as necessary for it.
 
4. Now how the bass player listen to the scratch and drum track? And comp the bass in, bring it down the pipe, make it sit with the drums.
 
5. Go back and redo the scratch guitar part, with the tick track, the drums and bass? Mute the original scratch track. 
 
6. Once all of that rocks hard, have the vocalist listen to all of it and comp in their part.
 
Add a splash of your favorite libation? Shake and serve... (delay, reverb, mastering, panning, bla blah blah)
 
This is the technique I use? But I am the guitar player, bass player, drummer, singer, keyboard player, etc...

I like the advice so far....I could probably "muddle" through it, but it sure helps to read a description of steps as done by others.... thanks !!!!