What if I told you there were three simple questions you could ask yourself every time you’re setting up to record something that would practically guarantee a better recording and ironically a better mix down the road? Not three pieces of gear or even three types of techniques. Just three questions to ask yourself. These questions have helped me tremendously over the years in recording sessions and I want to share them with you now.
Via Annie Roi Flickr
1. Do I Like The Sound I’m Getting?
Now don’t tune me out just yet. These questions are all very simple, but they build off each other and help you narrow things down so you can guarantee that you are getting the right sound. And the first step to getting a great recording is to actually like the sound you hear coming through the monitors! Sounds simple, because it is. But ironically most people seem to skip this question.
Whether out of frustration because they actually DON’T like the sound they are getting, or because they think they can make it sound better later in the mix, they move past this question and just settle for a sound. Don’t settle. You need to pretend like there is no mixing phase at this point. Make the actual track sound good in the moment. How do you do this? Simple mic placement changes go a long way. Try a few positions until you are actually like the sound coming through your speakers when you listen back.
2. Does The Sound I’m Getting Fit The Song?
If you thought the first question was easy, you’d be right! I can fiddle around until I get a sound I’m happy with in the studio just about any day of the week. But what good is that sound if it doesn’t actually fit the style of the song I’m recording?
For instance, if I’m recording a singer/songwriter acoustic style song with full band arrangement, that song style should dictate my drum mic technique. I would likely avoid the clinical and hyped drum tones from a modern rock setup and instead go for a more mellow and minimal drum mic technique. A great punchy and aggressive style mic placement and tone on the drums might be perfect for one song, but absolutely out of place for another.
So I have to first like the sound I’m getting (question #1) and then ensure that the sound I’m getting fits with the song. Some people might be tempted to start with this question first, but I don’t recommend it. If the sound fits the song, but you don’t like it, there’s no point in continuing. You have to love the sounds you’re getting. That’s part of creating art. Otherwise you’re simply working on a construction project, not a masterpiece.
3. Will The Sound I’m Getting Fit With The Rest Of My Tracks?
The final and most difficult question you need to ask is this: will this great sounding and appropriately styled track fit in the mix with every thing else I need to record? If not, you’re wasting your time. Unless it is the only instrument in the entire song, your track needs to play nice with the others, and this is NOT simply work to be left for the mixing phase. It begins now!
Some examples: when recording acoustic guitar think about it’s role in the mix. Does it carry the entire song along only a bass and some drums? Then make it a nice full bodied sound. Or in your song does the acoustic serve only as a nice texture to compliment a wall of electric guitars and keys? Then record a thinner, brighter sound so it will cut through the mix and not take up too much low mid headroom.
You get the idea, you need to know what each track’s role is in the final mix. That will allow you to “EQ” with your mic placement and ensure that the sound is something you not only like and fits the style of the song, but it actually will have a place alongside the other instruments.
If All Three Check Out, Then Hit Record
This process of asking all three questions can be a fast or a slow one. That’s ok, either way. What matters is that all three questions are asked and the track you’re regarding passes in flying colors. If the answer is “no” to one or more of those questions, then make a change. Whether it’s swapping out an instrument, changing strings, tweaking amp settings, or adjusting the mic choice/placement, do what it takes to get the track to work for all three.
When you can answer each question with a relatively confident “yes,” it’s finally time to do what you came to do: hit the record button! Your mixes will thank you for it!
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My name is Graham Cochrane and I'm the founder of The Recording Revolution, one of the world's most loved audio recording and mixing blogs with over 200,000 readers each month. 
Hey, Graham! Another great post from you!
I never get tired of Mr. Gilder saying: “Get it right at the source”! 🙂
I’d just add a previous step / question: “Do I like the sound I’m getting in my enviroment / room?”
You got it? Maybe listen to the sound from an acoustic guitar in different positions on your room (or test the another room in the house) or set up your amp knobs to get your desired guitar sound before miking it or listen the direct room sound after some blankets placement!
It seems obvious, but I’ve ignored that for a long time and then I realized how it makes difference.
After that I will question my self about the sound through the monitors…
The first question is the most important one.
Q: Can you make me sound like John Bonham?
A: Play like John Bonham.
It’s an old dig at drummers but it applies in all contexts when you ask the first of your three questions.
…Mike.
Graham,
Good stuff. Critical thinking is an incredibly valuable skill.
These questions do assume that decisions have already been made on what I call “project direction”. Basically you’ve already sat down and thought critically about the project and the type of sound that you want in the end. This is a huge asset, because it helps one make fast, confident decisions when you’re in the tracking phase.
Question #1 is my favorite. It seems obvious, but you’re right… it’s easy to skip!
Another great post by Graham. The first one is the most helpful. The original sound of the instrument. So key, I have saved myself hours in the mixing phase by taking a few extra minutes getting my sound as close to what i want to hear before hitting the red button. Thanks!
How does it come that you always post things that seem to mirror the situations I am in?? [looking back over my shoulder…Graham? are you watching me??]
I recorded some guitar tracks, miked a little BlackStar tube amp and I thought (!) I’d love the sound, and yes, it would fit the song and as it was the first track of a song-writing project I didn’t want to worry about the rest of the tracks (which would eventually follow later).
Result: when my enthusiasm was gone next morning and the professional audio guy took over my brain, he asked the yester-me: Blimey, how could you keep that?? Time for a re-recording!
You know, I love recording so much (perhaps even more than mixing) that all those endorphins spoof me regularly, and I have to find a way to avoid that – somehow…Do you know the feeling when your ears seem to wear rose-coloured glasses?
Hey Graham, just saw you #1 rule video, but thought it would be better for you to reply my question over here. As much as I agree with you in terms of software choosing, I’m always insecure about my personal choice (Steinberg’s Nuendo 4) given that it’s not that popular as the other ones. Just wanted you to say ‘Good software, stick with it’ or ‘There are better ones out there, wouldn’t recommend it’ to make me more secure about it. Note that I’m using it as if it was a professional software, comparable to ‘the great Pro Tools’ haha. Is it on the same level as the other ones out there?
Hi,
I know you expected that answer from Graham; Perhaps this’ll help you, too:
Over a period of many years I had to work with many DAWs, except FL and Studio One I had them all. My resumee is: They all do the same and they all do it well (but maybe in a different way). It depends on your personal taste what enviroment you prefer! Although I think that your workflow will adapt to any DAW. So it’s rather a matter of choice. I’m a pretty good example: I went from ProTools to Logic to Cubase (to name the biggest ones), just to find out I feel at home with Cockos Reaper. The non-commercial license costs 60$ and it comes with loads of great FXs and superior flexibility. So you see the price tag is no hint if a piece of software is good or not. Decide for one and get to know it inside out.
Thanks for the advice! I agree with your point, it’s all a matter of personal choice and workflow. But as I said, even knowing that, I still feel insecure about my personal choice because it’s not that popular. I know popularity doesn’t mean a thing either, but I just wanted to make sure that Nuendo 4 is not outdated or missing stuff compared to the bigger ones out there.
It’s only outdated if it can’t do what you need it to do or if it won’t work on your computer. Otherwise, the listener has NO idea what DAW you recorded and mixed on.
Hello!
As usual, this article is of much help. Thankyou very much! 🙂
With all this talk of simplicity, I think you could reinforce this idea a lot by demoing your workflow, recording and mixing a song without using a DAW at all. i.e. using a cheap multitrack recorder. Radical?
Hey graham! I have been following your site for a while now, and it’s helped me a lot! I can’t thank you enough! I just can’t seem to get a great warm sound for my vocals especially when I high pass filter it, I use a shire ksm27 mic which I know is a great mic, but my acoustic guitars and lead box never sound really “warm” and pleasant to me in the sound I want, my kick drum is ironically the same situation, any advice would be amazing!
Thanks
-StephenG.
My iPod autocorrect is lame. Shure* vox*
Stephen,
I too own a KSM27 and I feel your pain man! It’s a crisp mic to say the least. It works great on many sound sources but I find that on vocals it produces less than desirable results when talking about warmth. No amount of EQ seems to help either! My solution; simply use a different mic on vocals.
I think this situation is a perfect example of what Graham teaches and is talking about here. Get it right on recording day. And sometimes simply using a different mic is key.
I know I didn’t say anything profound, but I hope it helps in some way!
So true graham, its the simple smaller things that really make the big picture. Thanks again for sharing all yoir knowledge 🙂
Josh
Thank you very much,Graham!
Thanks for this eye opener post. if it gets wrong it starts from me so i got to get it right asking me these questions.
Hello graham i am really interested in your jumpstart series but paypal does not support my country what other ways can i make this purchase.
Unfortunately Paypal is the only way I accept payment, even if using Debit or Credit card.
I’ve heard top engineers say to always be in record. You don’t want to hear the artist say, “Did you get that?” and you weren’t in record.
God points you’re making Graham! I’m trying to have this approach on everything I record, as Joe Gilder always proclaims “Get it right at the source”. It certainly saves you some trouble down the road, take care of the “problem” as sone as you can. Don’t save it to the mixing phase and hoping you or the mixer can fix it in the mix, because he’ll or she’ll probably don’t. If the mixer fixes it it’s great, but don’ t depend on the mixer to “fix it in the mix”. Try to make it sound as close to your vision all the way through, this will save you a lot of time. And especially if you’re paying someone to mix it.
Dude i love your articles they are very motivating and ill continue to read all!! thumbs up man keep doing what you do!glad to see someone willing to help others out here.
look here 3 Questions To Ask Before Hitting The Record Button | The Recording Revolution
Well, if you are running as a producer more than a technician maybe Q2 and Q3 has more sense other way there is no reason to know everything …the core and the feelling of the son. Of corse, many os us are musicians too, so it’s no easy to change the switch .
well put and much more practical than simply stating “get it right at the source”. nicely done.
I try!
Great advice Graham. Took me so long to get this. It is so worth the effort to get it right going in. You can learn this also from listening to previous mixes. Pay attention to the parts that really shine. What made them that way? Go for a sound and commit. Don’t be afraid to use compression or time based fx on the way in. If you don’t get it right on the way in. you will never be able to turn it into what you really wanted.