Neil Sabatino is the owner/operator of Mint 400 Records,
lead singer of the NJ indie band Fairmont, and a longtime
friend of Jersey Beat. In this article, Neil explains the
nuts-and-bolts of home recording for the interested DIY
beginner.
By Neil Sabatino
If you had told me back in 1990’s or even up until
2005 that at some point I would be able to record an album
all on my own without the help of an expensive studio, I
wouldn’t have believed it. In the 90’s I had
the opportunity to record an album or two on tape and it
was a long arduous task. Recording a record was a task that
was expensive, time consuming and it seemed at best any
band I was in would only be able to record maybe once or
twice a year. Into the 2000’s I was able to record
home demos on my computer with programs like Vegas &
Sonar but I always found the quality to be subpar. I didn’t
really know the process or understand why my demos sounded
bad. I did somewhat know that using one USB microphone to
record a whole drum set or the other instruments was part
of my problem but I didn’t know where to go from there.
As I became more concerned with being able to record high
fidelity recordings for a cheaper cost I started my journey
into building a record label and home recording studio.
First off, let me say this was not an easy journey and
I wouldn’t say that just having the right gear will
make you an expert. My band Fairmont had started out by
going to a cheaper studio and recording pretty low fi records
for the first portion of our career and we paid attention
to microphone placement and the exact process but in the
early 2000’s a lot of gear was still very expensively
priced. We were only paying between 300-800$ to record a
full length so we didn’t feel any urgent need to buy
$10,000 worth of recording gear to try and do it ourselves.
Eventually we realized we needed to up our game and put
more money into recording. After working with a few different
people we met producer Bryan Russell. This was the first
producer we met who answered every question we had about
recording in a very logical easy to understand way. By this
time we were averaging a recording budget of 3,000-4,000$
per full length. The first time we worked with Bryan he
started out first by doing pre-production and then moved
through the process of engineering, producing and then mixing
our 2008 album Transcendence. I was extremely happy with
everything about that record except my goal had always been
to record a record a year, plus side projects. I knew eventually
I wanted to get into producing other bands, which I had
done a little bit of.
It was with our next recording that we took the reigns
and tried engineering the entire recording ourselves and
just having Bryan record vocals and mix 2009’s “The
Meadow At Dusk”. By our next release, 2010’s
“Destruction Creation”, we were going to engineer
100% of the recording and just have Bryan mix the record.
This time in the mixing process I asked a lot of questions
and figured out the wonders of compression and EQ. We had
done three records now all while holding hands with this
amazing producer but felt it was time to let go and try
it all on our own. At first we were doing most everything
on borrowed gear. As my record label, Mint 400 Records,
started up and more bands needed help with recordings and
I knew I was going to need my own set up.
Originally, I had one good condenser mic and that was pretty
much all I needed to record acoustic-ish tracks. However,
I quickly learned that the switch from USB microphones to
XLR ones would make a big difference. As well the single
most important piece of equipment was a preamp that would
work with my Apple Computer. When I first started recording
bands Pro Tools was still pretty expensive because it required
a purchase of an entire suite of hardware and software.
I chose to start with Logic Pro because it was cheap and
it was more user-friendly than anything I had seen. This
was the most expensive part of setting up my home studio.
First thing was that if you are going to use a laptop, then
you are going to want something with sufficient power. In
the past I have always used a Mac Book Pro and my current
Mac Book that I run everything off of is a 2.6 GHz Intel
Core i7, with 16 GB of memory and a 1 terabyte flash hard
drive. Roughly this cost around 2500$ but even with the
1500$ Mac Book you could yield similar results. As a preamp
I purchased the PreSonus Firewire Preamplifier with 8 XLR
ports and this ran around 400$ but is the basis of how I
am able to track drums with up to 8 microphones at a time.
Finally Logic Pro, for the money, I feel is the best of
the cheaper recording suites and costs under 200$. These
three tools got me started.
At first I was recording in the bedroom of my apartment
and as I moved to a house in 2012 I was able to create a
space that was conducive to recording. I’m no carpenter
so what I did was create a faux room using carpet and moving
blankets. Basically I created a box made of blankets that
was big enough to hold a drum set and all of the drum mics
and stands. Underneath the drums was a large carpet and
surrounding the drums on all sides including above the drum
set were thick moving blankets. Using a close mic-ing technique,
you would never guess that our records were recorded in
a basement instead of a studio like our previous releases.
Other issues that may arise really depend on where you
live. I try to always track drums between 8am and 6pm and
not really much later then that. The reason I say this is
because I did not professionally sound proof. Basically
we stuffed a piece of insulation between the windows of
the basement and the storm windows and then we added a little
bit of acoustic foam on top of each window on the inside
of the basement. We have never got a complaint because of
the moving blankets, I assume. The sound is pretty dead
outside and never reaches more than 10 decibels once you
get to the property line.
Once the expensive parts of building my home studio were
in place it was time to purchase the mundane things that
you may not think of until you are in the thick of it recording
with bands. The studio is completely mobile and for certain
bands such as Jersey City’s The Old Glorys we were
able to use just this basic gear to create their 2010 release
Brunswick Street Demos. However as I upgraded it has been
more difficult to move everything to accommodate bands but
it still can be done and the whole studio fits in my mini
van if need be.
So once I had actual full bands ready to record with me,
I usually liked to record drums with 8 microphones. This
would be possible through purchase of the CAD drum mic kit
which I got for 135$. In addition I would need my condenser
mic. Originally I had purchased an Audiotechnica Condenser
for 100$ from a friend but have since moved to the Blue
Bluebird Condenser which was 225$ used. Through a set up
of a mic on each individual drum as well as overheads and
a room mic I was able to get some really great recordings.
The PreSounus Preamp worked well with Logic and it was easy
to set up tracks. With a recent purchase of CAD drum mics
I had realized that the ones I wanted only came as clip
on mics, which was horrible for recording purposes, so I
was able to take the mounting pieces apart and combine them
with standard microphone clips so they would mount on a
normal microphone stand.
Just a few hints on the boring stuff like mic stands and
XLR cables. For microphone stands I have found straight
stands to be almost completely useless and have switched
to all boom stands which I was able to purchase a 6 pack
of for 80$. Now these stands are lightweight and I would
not recommend the cheap ones for any sort of live situation
where the heights need to be constantly adjusted but for
a home studio I am finding that they are completely fine.
As far as XLR cables I have found that 20 feet is the magic
length that is not too long and not too short. I have purchased
them before in bundles of 6 for 25$ and have daisy chained
them if I ever needed longer ones. Additional mics like
a Shure 57 are always good to have around as well because
you can use them on a snare drum, guitar amp or even for
vocals if you are running low on mics because you are doing
a live setup.
Once I started working with other bands besides my own
was where I realized the need for things like a mixer or
headphone amp. Let me run through a few situations where
you might need additional gear like that. Most of the time
I actually use seven drum mics and skip the room mic so
that a guitarist or bass player can play direct and it can
all be heard by headphones by that player and the drummer.
I recently recorded a project with a solo artist who plays
everything on his records and had come to his session with
the click track, guitars, bass and vocals already on a demo
track and he was able to use all 8 inputs to record drums.
However most bands don’t come prepared like that and
some bands can’t play their songs without hearing
everyone in the band playing along. For 105$ I was able
to buy a Berhinger Mixer and for bands that need to hear
everyone playing along I could use one channel to mix in
four additional scratch tracks. So for instance, my first
seven tracks on the preamp would be all drum mics but track
eight would go out to the Berhinger. The Berhinger would
then be able to have bass, two guitars and a vocal all mixed
into the headphone mix the drummer was hearing. Now you
also need to get the other members of the band a headphone
mix to hear. Headphone amps are generally cheap and you
can find them for under 20$. However you also need headphones
and a handful of headphone adapters just in case, so everything
works. Don’t forget you also need the correct adapters
so that your headphone amp works with the headphone input
of your laptop. It’s best to just purchase five to
six 1/8 inch to ¼ inch adapters and five to six ¼
inch to 1/8 inch adapters and than you have it all covered.
So now you are pretty ready for most any situation a band
can bring you. On occasion I have had a live recording and
lucky me got to record a nine piece band. With this sort
of situation you are going to want those extra Shure mics
on hand. For drums on these types of recordings you are
going to have to back down to a three mic set up, usually
kick, snare and overhead or check out the specs on how 60’s
producers used to record drums with a three mic set up.
Then you are going to use your condensers on loud guitars
and vocals. For keys and bass you always want them to use
a direct box into your preamp even if they are going out
to an audience through their own amps. My only other big
issue that has come up has been with bands who don’t
use a click track and then later need to make edits. This
always makes things easier and if you have the setup listed
above it will make it easier for a novice drummer to play
along to a click. Or at the very least by recording the
whole band on a scratch track through a mixer you will have
tracks for the rest of the band to play along to later.
As you get into the mixing process it is important to really
learn about compression and EQ. You also have to be aware
of panning and how certain effects work. An engineer will
never be able to get good at this if you don’t have
the right equipment to listen back on. My process for mixing
has always been first to mix the track on studio monitors,
I started at first using Fostex Monitors but saw they were
too bass-ey and I moved onto using M- Audio monitors at
ear level. Once I completed a mix that way, I then re-listened
using really good Sony noise cancelling headphones. I advise
you own at least one pair of 50-150$ headphones to use for
mixing. Once I got something I liked, I would check it out
on multiple stereos. I have done some mastering on my own
but at this point am still learning about the process and
paying a mastering engineer to help with the finishing touches
on all recordings. Hopefully this will be something I can
do on my own in the future but as with everything it takes
baby steps to make sure everything is getting done correctly.
If you are an indie rock artist I do advise that unless
you are spending 10,000$ or more and using Sterling in NYC
to master your record that there is rarely a difference
between the cheaper mastering guys. I have used a guy in
NYC who cost me a 1,000$ for a full length, I have used
a guy who charged me 35$ a song and I have used a guy who
charged me 50$ an hour and took 2 hours to master a record.
I found the same result with all three so I now use the
cheapest. I suggest trial and error to find someone you
like and that understands that your first recordings at
your home studio might need some extra love and attention
to clean them up.
Recently Diana Nardolilli a solo artist and Mint 400 intern
had this to say as she witnessed Mint 400 artist Joe Stroll
and his project Future Fires tracking his debut album at
The Forest Of Chaos:
"In the past years, new audio technology and software
have made it easier than ever to record music without paying
large amounts of money to record in a professional studio.
Those who are up to date with advances in music technology
are most likely aware of the growing trend of home studios.
However, for someone such as myself who had never really
looked into recording music, the ease of a home studio and
the technology involved, I found very eye opening."
Industry veteran, AJ Tobey of Bank Robber Music, had this
to say about his listening experience with tracks produced
by Neil Sabatino at The Forest of Chaos:
“It's funny, some people spend all this money in
big studios trying to create a "raw, home recorded"
sound, and Mint 400 Records have figured out that you can
achieve the same high quality music, with the realness that
many bands strive for, by recording in an actual basement
on less expensive gear.”
As Mint 400 Records, a New Jersey Indie label, moves forward
we are always interested in keeping costs way down in order
to be able to do this for many years to come. The focus
on building this home studio has been to benefit all of
the local bands on the label and for our bands around the
world we are offering this information freely as they build
their own home studios so they can be as prolific as possible.
This trend in home studios would benefit anyone who is looking
to record their own band or start their own label. Why pay
someone 10,000$ for an indie sounding record when you can
buy all the gear for under 5,000$ and make a comparable
sounding record with just a little research. The new shape
of the music industry has everything to do with DIY and
learning to do things without the outside world telling
you it’s only good once you put X amount of dollars
into it.
My studio, lovingly titled The Forest Of Chaos by Sam Carradori
the bass player of Fairmont (based on a painting she made),
is a place I built out of love for music. The studio is
a necessity for someone like me who wants to record constantly
all year long. I want to record my band, my side projects,
other bands and their side projects and I don’t want
to see anyone break the bank or hold off on writing because
they have no way to record it. The Forest Of Chaos &
Mint 400 Records will be the face of what future labels
will look like. As technology gets better and cheaper there
will be no reason for labels to constantly lose money on
expensive albums. It will also even the playing field for
the small guy just trying to make records, the same small
guys who 20 years ago had to save up for a year and sell
their car or a kidney in order to make a record.
JerseyBeat.com
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covering punk, alternative, ska, techno and garage
music, focusing on New Jersey and the Tri-State
area. For the past 30 years, the Jersey Beat music
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