Timing Issues: A Producer's Worst Nightmare

I can’t tell you how many recording sessions have been ruined (or at least been made incredibly difficult) by musicians who can’t play in time with the click track or metronome. I even know producers who send bands home because of their inability to play in time! I’ll admit that playing in time is difficult to get the hang of and it’s not a skill that many musicians have naturally, however, since all of the tracks in a recording snap to the grid in the corresponding tempo it’s crucial to the recording process that everything be in perfect time. Since most newer recording suites such as Garageband, ProTools and Logic have a time manipulation function called Flex Time which has this precise function, we’ll go over some of the basics of when it’s appropriate to use it.

MYTH

“It’s close enough, they can fix it in post-production.” This is a very poor attitude to have. Yes, to some degree a producer can fix timing issues in post but he or she shouldn’t have to splice and re-cut an entire track. Timing alignment should be reserved for very small mistakes and for cleaning up an already near flawless track to make it perfect.

WHAT IS “NEAR FLAWLESS”?

As humans, we are imperfect by design that’s why we use computers to pick up the slack. By ear, we are capable of playing to the metronome very well but our software can help us achieve mathematical, machine perfect timing with the click of a mouse. Only when you have recorded a track keeping the best timing possible should you use Flex Time to snap it to the grid. This will allow for no audible “hiccups” in the sound and you won’t be able to tell that it was changed at all. You’ll definitely be able to tell just by listening if you need to re-record a piece.

ADVICE

Just practice your timing or have the musicians you’re scheduled to record make sure that they’ve developed this skill. Invest in a metronome, they’re cheap and can be found at any local music store. They even have FREE metronome apps for the iPhone. This will help make recording as fun as it should be.

Recording Acoustic Guitar

I figured that since I went over recording electric guitar last week I would follow up on some helpful tips for recording your acoustic guitar. I personally use the acoustic guitar in almost every song I make. Even in a harder rock song where the lead guitar is heavily distorted, recording an acoustic guitar underneath is a great way to add fullness and rhythm to the overall mix even if the only thing that is audible is the scraping of the pick against the strings. Fortunately, this process is much simpler than the last and you’ll be able to get a great sound with much less effort. Here are just a few things that will help you get started.

TO MIC…
If you have to mic you’ll again want to pick out the best microphone that you can get, preferably a condenser microphone. These mics are really sensitive and will pick up everything going on in the room so you’ll want to make the room as quiet as possible. Place the microphone as close as you can right up to the sound hole in your guitar, there is no need to deviate the placement much further than that. Since acoustic guitar is quieter than electric, you may have to crank the preamp on your recording interface much more but since acoustic guitar is much easier to manage in postproduction this won’t be a problem.

OR NOT TO MIC?
Does your acoustic guitar have an electric input? If so, you may want to forget using a microphone altogether! You can plug directly into your recording interface and adjust the EQ from the preamp on your guitar. Since the signal is going straight through without having to pass through a microphone, there will be no loss in sound quality and you’ll get a nice rich tone.

BOTH?
If you’re feeling really adventuresome you can plug directly into your interface AND use a separate line to mic your guitar. You will still that clear, rich tone from the direct line but you’ll also get a nice roomy sound from the microphone too. It will add some natural reverb if that’s the overall sound you want to achieve.

Only you can decide what’s right for your sound, so as always, experiment using these techniques and feel free to leave a comment below. Good luck!

Recording Guitar

Recording guitar can be one of the most difficult aspects of production, especially if you’re on a budget. Unless you’re using a high-end microphone, you might find that the tone coming from your amp doesn’t quite carry over to your recording. With a few simple techniques you can get the most out of the equipment that you have while minimizing the amount of work that you do to your guitar tone in postproduction.


PLACEMENT- Microphone placement is perhaps the most important part of this process and can take anywhere from 15-30 minutes. You will of course want to use the best mic that you can get your hands on, one that is capable of capturing a wide range of high and low frequencies. While desired tone is all about preference, a good place to start is putting your mic directly in the center of your amp’s speaker right up to the grill cloth. This will allow you to get the best low end and frequencies making for a thicker sound. Personally, I rarely deviate from this positioning. If you’re looking for a thinner guitar sound try moving the mic slightly away from the center or further from the grill cloth. Remember that a little movement can go a long way so move slowly as you test your levels through your monitor until you get the desired sound.


VOLUME- The other half of getting a good guitar sound is the volume. It is important to crank your amps volume as loud as you can while retaining the tone that you want. Not only does this allow your microphone to catch the widest range of sounds, it also puts less strain on your pre-amp and gives you more control while mixing. 


This will require a lot of experimentation as every song calls for a different sound. By keeping these things in mind and with a little patience, you can get a great quality sound from your guitar before you even move into postproduction.