Some Fine Tuning

Following on from my previous entry regarding recording at how using a Boss BR-8 recording device you will have all of your instrumental tracks recorded and mixed to the levels that you like the sound of. Now is the time to hear what your song sounds like through external speakers.

This might be a good time to sit down and be somewhat underwhelmed.

Before you run  'line-out' audio leads to your external sound device, bare in mind that you have been listening to the same sound over and over and over again through (hopefully) high-quality and insulated headphones.

What you will hear on first listening may well frighten you by how 'bare' your song sounds. The insular nature of headphones condenses all of your tracks so when you hear them through speakers blaring your sounds into the open air, every slight imperfection will be heard. To you it will sound ghastly as you are aware of it. Surprisingly few others hear these quirks.

The most common error one makes initially when recording at home is to have their preferred instrument set at a higher level than it needs to be. Enter stage left your trusted friends who aren't going to massage your ego to give you an objective opinion. Once you have sought the opinion of a few trusted friends, this is where I find the Boss BR-8 to be perfect for my particular genre of rock music.

Instead of heading for the graphic equalizer, go to each track and have a play around with the low, mid & high range frequencies and explore what can be done with frequencies alone. Take my word, it's a little more than amazing. This is a good opportunity to listen to the sound that you hear through external speakers compared to what is heard through headphones and what is heard through your headphones. By doing so you are gradually training your ears to adapt to the difference. Over time you will have this down pat.

Each instrument reacts differently to the Boss BR-8 equalizers. The bass guitar has more flexibility than one may think using the Boss BR-8 home recording unit. Obviously the tone control on the bass guitar should be rotated to the desired position. I have also found that the Boss BR-8 has an almost mystical, intrinsic factor on how bass guitar strings

react to the plectrum used. Unlike using a bass guitar through a conventional amplifier the Boss BR-8 brings out a softer tone if a heavy, sharper, plectrum is used such as those more commonly associated with lead guitarists. At the other end of the scale thinner, flatter, plectrums give a sharper tone.

The main variations that I make with the guitar sound is by working with the two rhythm guitars that I run in the vast majority of my material. I like my two rhythm guitars to mesh and weave ala' Keith Richards and Ronnie Wood, my guitar idols (along with Mick Taylor and Joe Walsh). Rarely do I touch the low end level or frequencies. I generally push the upper level volume a little whilst lowering the upper end frequency slightly. This serves to 'push' the guitar(s) forward without actually increasing the volume. Be careful at this point not to push things too far as you will end up with a 'thin' sound. This same technique is applied to the lead guitar, which should obviously be slightly more predominant.

You may notice that on first listening to the drums through external speakers that, firstly, they they are too loud, secondly, the kick drum is 'booming' and thirdly, that the snare drum sounds tin-like. Bypass the drum sound and listen to your track through. If you're happy with the actual timing and so forth then there should be no need to re-record.

On listening to the kick drum, one should be able to hear the hammer 'hit'

the skin of the kick drum. This is achieved either manually by ensuring the drum is properly tuned and/or padded or by lowering the lower end frequency on your home recording unit and perhaps increasing the lower end equalizer. This should be done very slowly. You will hear when you have the sound that you want when the kick drum neither 'booms' or 'clicks.'

The snare sound will more than likely be 'thin' on first playback through external speakers. Again, this can be resolved manually by further damping down your snare or by increasing the lower end volume of your recording and slightly lowering the higher end frequency to maintain 'punchy' sound.

All of the tips mentioned here are subject to variations depending on your own personal style. I do hope you have found them of some assistance.

First Things First

Image by nzgabriel via Flickr

For the purpose of this discussion I shall be drawing on my own personal and professional experience using a Boss BR-8 recording unit. Rock music is my genre' but the Boss BR-8 is adaptable for all genres of music.  
The unit is an 8-track digital recorder aimed primarilay at the solo independent musicians who wishes to record on their own. Where you decide to go from here will be addressed in further articles as time presents. I purchased my device in the late 1990s and it offers more versatility than my needs require. You, I suspect, will be different.  


Prior to recording I am assuming that you have the equipment other than the recording device at your disposal. Absolute essentials are your guitar (or guitars), two guitar leads and numerous sets of strings as these are things that tend to malfunction at 2am. A bass guitar can be used but the BR-8 does have a built-in bass 'synthesiser' making it possible to play bass on the lower strings of your standard electric guitar. It's a bit 'touchy' and doesn't allow the total freedom of your standard bass guitar.  

For vocals I use a Shure SM-58. Any multi-directional microphone will do. The better the quality of microphone, the better the results. Nothing is cheap or free these days and everything is being superceeded by the minute. I'm a techno-luddite (as much as one can be these days) and prefer to stick with what I know. If you intend to use a normal drum-kit I highly recommend a Shure SM57 uni-directional microphone.  

Studio quality headphones are imperative. Using inferior quality headphones to record will over-ride all of the hard work that you have put into your recording once you've heard it played back, be it on CD or decent quality computer speakers. Your potential followers will notice this too.  

Finally, before recording commences, an isolated and sound-proof room is ideal. This is primarily for vocals. It is also necessary if you opt, as I do, to use a drum-kit. Now you are ready to record.  

You have the song in your mind crystal clear. Prior to plugging in and letting loose it is well worth spending time on what tempo and what pattern suits your song best. Play parts of your song through, experimenting with tempos' and patterns. Quite often what you have in mind will vary. This is a good thing as your ability to adapt is growing. Once you have this area to your satisfaction, depending on what instrument (vocals excluded) that you are most proficient with, I suggest recording what I call a 'ghost track.' A ghost track is a basic track, be it rythm guitar or bass, that will later be deleted and recorded over. I generally start on track 8 with a 'straight' bass line. The synthesised bass has a few options. As previously mentioned they can be somewhat restrictive but the synthesised bass line certainly can move along more than sufficiently. The synthesised bass does not allow for individual track mixing but the option of 'loose,' heavy,' tight and 'upright phased' are available from the offing. This is perhaps a good time to decide on what option will suit your song best.  

The next track that I record is another ghost track, this time in the form of a rythm guitar. This gives my first 'real' rhythm guitar something to mesh with.' This is my style and may not suit yours. After the ghost rhythm guitar has been recorded the fun really starts. I record my first 'real' rhythm guitar.

There are a multitude of pre-set guitar effects, inside which are a multitude of individual effects with a multitude of options. I cannot emphasise enough that it is worth spending a few days going through each option jotting down notes. Even though a combination of effects may not suit your style, who's to say that they may not suit another song later on. Keep your notes in a safe place for future reference.  

Once you have found the sound that you are after it's time to begin recording for real. You may find that because this is the real thing, nerves may come into play. This soon dissipates. I'd suggest having your pre-set rhythm track set pretty high volume-wise. Setting the straight ghost bass is also a good idea. Set your original ghost rhythm to a lower volume but high enough in volume in order to play off it. Now that you have done this you may well have a nervous breakdown as, going by the "time remaining" which constantly shows up on your screen, you only have 6mins of recording time left. Fear not.

Another great aspect off the Boss BR-8 is the "Optomise" button. Again, go to the "Utilities" button to the top right of the unit and press it. Using the 'arrow' button scroll to the right until "Optomise" shows. It's the last option. Press "Enter" and you will be asked "Optomise Song?" Again, press "Yes." After a few seconds the screen will display "Song Optomised." What this means is that any tracks which have been recorded over, thus taking up recording time, are discarded. Depending on your choice you can now record over your ghost rhythm or bass line. 

Personally I a straight bass line first as I prefer to have my rhythm guitars weaving around each other, meeting up at relevant points. If you choose to use a standard drum-kit, as I do, it does have its' drawbacks but I still prefer it. I record it on two tracks. 

Prior to recording I have the click-track as low as possible, purely to count myself into the track. Firstly I record the hi-hat and snare. I use a SM-57 microphone pointed directly at the snare. I record it at a very low level as I'm a hard hitter. This is sufficient to also pick up the hi-hat. I have a taped cymbal (to avoid 'spill') placed slightly above where a normal floor-tom would be placed. This also avoids spill as my body absorbs a lot of it. During the recording of the snare track, I place a pillow between the kick-drum pedal and the skin. When I record the kick-drum the aforementioned pillow is placed inside the kick, where it should be.  

Vocals are usually the last track(s) that I record. I have them written down but have found myself scrawling on them as instrument recording progresses for reasons of phrasing and possible re-wording some parts. The multitude of vocal effects are overwhelming. As is also the case with guitar effects it is well worth spending time finding what's best for you. Each individual effect has yet another multitude of customisable effects within. From my experience, find the one that suits you best initially and stick with it until you feel that you wish to diversify.  

The Boss-BR-8 has almost limitless possibilities for diversification and I have only scraped the surface in this article and hope that you have found something of use.  

I intend to delve deeper into the multitude of possibilities of, not only the Boss BR-8, but  recording in general.

Related articles by Zemanta

• Noah and the Whale 'devastated' over stolen equipment (guardian.co.uk)
• Coming Shows in Seattle (avantmusicnews.com)
• Gibson Guitar: Home of Innovation, Continues to Revolutionize The Industry (geardiary.com)
• The Future Sounds Like This: 10 Magnificently Modern Musical Instruments (weburbanist.com)
• On The Road With Timothy B. Schmit of The Eagles (the9513.com)
• First Listen: Wolfmother's New Album (spin.com)
• Anyone Got One Hundred and Fifty Bucks and a Strong Desire to Buy Me a Present? (metalsucks.net)