This is the most crucial step in making an album, (is this beginning to sound repetitive?)

After you've decided to make a recording, you need to sit down with a pad of paper and outline the project.  If you're uncertain what you need to address, once you book some time, we can help you by providing standard forms that will cover the necessary items. 

List the overall objective you envision for the recording. A CD to distribute to radio, or to sell at gigs? Or song writing demos to showcase your work for a publishing deal? It's best to have a CLEAR vision for what you are going to do with the CD when you START.  After that, decide on the songs you want to record.  It helps to demo the songs first on a 4-track or a boom box, and analyze them after the heat of performance.  Get outside opinions on which are the strongest, and which need more work. If your objective is airplay, the 11 minute tune will probably need some trimming, whereas if you're doing an album to sell to your fanbase, 11 minutes can be cool.

With that list of songs, consider the instrumentation for each cut. How many guitar parts do you plan to work in? Vocal harmonies on the chorus, the bridge, or not at all? Percussion on some or all of the tunes? This will serve a few purposes. One, is to get your mind organized as to what's going on with each tune. Second, it will help you figure out how many players you need to line up.  And third, it will help you get an idea of how much studio time it will take.  It helps to put a stopwatch on the demos as well, and figure out the run time of the material. Recording can be very tedious and time consuming, and putting a strong eye towards the budget versus how much you're planning to record can save a lot of stress. Plus this is a great way to help the engineer manage the takes of a song in the studio, making the most efficient use of the time available.  With a list of songs, tracks, run times, and an objective, now it's time to start calling studios.  (See Studio Criteria)

When booking a studio, it helps to have as clear a vision as possible. Most studios are looking at projects in terms of time, as in, Band X will be in working for 10 days.  What happens in those days is the responsibility of the band and its' producer. So if ten days are up, and the album's not finished, and the studio is locked-out for another month,  you're going to have to scramble to get the project done.  Additionally, most studios have a really good idea of the amount of time that goes into albums of varying quality. Giving the studio manager a rundown of what you're going to do, with all the specifics discussed above, can help determine a time frame, and very importantly, a budget.

Recording takes time, and studio time equals money.  A way of thinking about this is to envision a triangle, and at the separate points you have HIGH QUALITY, FAST, and CHEAP. Pick two, any two, but ONLY two! That's a good rule of thumb to go by.  Be realistic.  Also in your budget you need to factor your expenses, eating while at the studio, any rentals you might need in the course of a session, repairs, setups, traveling, exotic dancers, and so on. These things add up, and can add up fast if you don't budget.  In addition to the budget considerations of picking a studio, you have to think about the "vibe" of the sessions. Definitely TOUR all prospective studios.  Gauge the professionalism of the staff. Can they answer questions right away, have real world experience with the instruments and style of your music, and generally seem confident but not cocky? Look at the studio itself. Does it have the vibe you will feel comfortable in hour after hour? Some people need a sterile surrounding, some need cozy. That's why all types of studios exist, but it becomes your task to find the right one for your music!

All of the above issues are issues anyone can deal with on their own, but  plan to make mistakes the first few times around. To better strengthen your chances of succeeding, hiring a experienced producer is always advisable. The right producer can remove all the burden of scheduling, planning and paperwork (except, of course, signing the checks!!!) so that you can focus on performance. And in most instances, a competent producer will reap benefits both financially and socially that easily offset the fee they charge. So it's always advisable to search out a few producers to see if they fit the vibe you're going for.

Making an album can be expensive, and stressful, but you can help minimize both of those concerns with proper pre-production and remaining focused.  The next stage in most projects would be to mix the record, but that's a whole topic within itself!!!

One of the biggest mistakes I have seen in the studio is the band underestimating the time necessary to cut basic tracks. If you are cutting multiple songs, try to work out a lock-out rate with the studio for several days. This way, when you get tired, you can go home and get some rest. You can leave your gear setup and return the next day refreshed. If you try to push yourself to far, you most certainly will get diminishing returns. People naturally get tired and your ears will get burned out if you are listening for twelve hours at a time. Also be sure to eat some food, you need energy.

Remember, when you are in the studio, everything is viewed under a microscope. It may seem as though the production team is nit picking at every mistake, but they are just trying to help create the best possible product. Don't take offense, be thankful somebody cares. If you are recording a tape to shop to labels or clubs, they expect high quality. Demos that are being handed in these days are "CD" quality. Listeners are use to hearing strict timing generated from computers and sequences. As live musicians, you have to compete with this. Again, I'm not saying the timing should be rigid, but large fluctuations in tempo won't do.

Lastly, bring a still camera and/or a video camera. This will be a time you will want to remember. You may be able to use some footage for the music video! You can also prove to your friends and family just how complex recording music really is.