The mixing and mastering hint list:

• Select the track order of songs on the CD for maximum impact.
• Do NOT require that every song be compressed to death.
• Consider having a professional master the demo.

Bring basic comfort items

Wear comfortable clothes. We have an assortment of headphones. If you have one you really like, bring it. Bring some soda or a water bottle so you have something to drink.

Don't count on the mix-down to make it right

Get the sound you want and a performance that you're satisfied with when the recording is rolling. If you think you can fix it in the mix, you're bound to be disappointed in the final result. If you think a take is taking too long, and are tempted to quit now and futz with it later, don't. Keep going until you like it - trying to get it to sound right later is going to take a lot more time, and end up being much more frustrating than taking the time get the right stuff "on tape."

Do I have to tell guitar players to bring a tuner? Bring one and use it. If your instruments are out of tune, you can not retrack at a later date. Also guitar and bass players should bring a spare set of strings..

Make sure your instrument sounds the way you want - drummers, if you think your kit sounds just "O.K.", borrow something you like better.

Bring a couple of snares, and pick one that sounds best when recorded. Making up for a weak drum sound is time-consuming, and usually not very convincing. Compression will not make up for uneven dynamics, equalization will not make a great snare out of a crappy one, and effects are there to augment your sound, not provide the sound. Know what you and your kit sound like before you commit a track, and if it's a sound you're not satisfied with, then be prepared to be less than satisfied with the results. Rock drummers should think twice about bringing a bass drum with two complete heads. The result will be very boomy. Get a front head with a big hole in it, and add some dampening material. Tune your drums!

Again, if you're not really fond of the sound of your instrument or amp, dig something up that you like better. I wish I had a collection of vintage amps and guitars to offer - until I do, we've got to rely on what you can bring in. We have a good Fender tube amp, a Line6 POD, an early '90s-sounding old keyboard/synth, and a decent Fender Strat, all of which can be used for sessions. But otherwise, bring what you want to listen to.

Think about your overall sound and arraingment. While this is traditionally the role of the producer, most folks recording at PRC don't have someone just for that role. Thnk beyond playing everything as loud as you can. Invent "room for the sound" within your arraingment. For example, if the bass drum pounds out a constant beat, and the bass guitar does the same, they will step on each others sound. It sounds better if the bass drum and bass guitar alternate beats. That lets each be louder, and drive the tune. Plus it adds some variety.

Plan the tracking schedule

How we record a session depend on what kinds and number of instruments you bring, and what you want to do. We can currently record sixteen tracks at once, and have unlimited tracks for overdubs. Small accoustic groups can be recorded live. Rock groups are usually recorded partially live and then have selected tracks overlaid. Obviously, if you have keyboards or other instrumentation, we have to adjust the tracking schedule. So plan ahead. Please read the sample tracking plan for ideas.

Nail down arrangements beforehand
See Rehearsal rule. Take the time to make sure you know what everyone's playing before you come in. There's always bound to be a few surprises ("You're playing an E minor over the bridge?!"), but take time in practice to see that your parts are meshing, unless, of course, you have the budget and the time to do this in the studio.

Bring in only who you need
Friends tagging along to a recording session find out pretty quickly that it's not a particularly interesting spectator sport, and even band members hanging around during someone else's overdub sessions can get pretty antsy. It's no help to have an impatient or bored onlooker hanging around while you're trying to get work done. I've got no objection to a few of your entourage taking up sofa space, as long as they know what's in store. There are no toys, and if the hangers-on make noise, things can get grumpy.

Have a song schedule.
Don't spend two hours on one song and then suddenly realize it's time to go. Know what you want to do and budget your time accordingly. If you don't need every person in the band all the time, plan who is needed at which times. Schedule so they can sneak out to the local McDonnalds for food while the vocalist overdubs a few songs.

Track order on the CD
Track order is important. It defines the first impressions for the listerner, be it a club owner, record company A&R rep, or fan.

• Put your best track first
• Put your second best track second
• if you best track is too slow or too soft to lead off with, write and record a better track.

You have to have a producer.

You really should have a producer. What is a producer? the person who listens to the sound and tells the band what is needed to make it better. For CDs intended for commercial release, a producer is critical, and they are paid a substantial number of "points" as their fee. For demo CDs (i.e. what we do at PRC), you can use either a trusted friend, or hire a professional. Here are a few of things that the producer will listen for:

1. timing --somebody isn't playing to time, the bass player and drummer have to be locked.
2. tuning -- people playing and singing out of tune. Guitars get out of tune very quickly, check using your tuner often.
3. jamming the airwaves--- playing too much; filling up too much space, includes playing where they shouldn't, etc. Records are not the same as live shows. Don't play "too many notes"

You can not listen for all these things while playing. That is what a producer does. A good guy to talk to is Jeff Severson.

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