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Will pay for help recording

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  • Will pay for help recording

    I need help learning how to record  electro accoustic guitar, possibly vocals

    Using Logic pro x 

    Struglging with what interface, mics etc etc set up

    I need someone experienced to help me out, I will pay you for your time on a lesson basis over messenger or by phone. 

    10.00 for each 30 minute lesson untill I have enough knowledge on how to proceed. 

    I will send money via bank transfer before each lesson so you will get paid.

    No time wasters. 

    Big help, 



  • #2

    Try Groove 3 online tutorials. $15/mo access pass.


    • WRGKMC
      WRGKMC commented
      Editing a comment

      I suggest you buy a few hours at a professional recording studio. The money is well worth having the experience of recording professionally and you'll learn more in an hour or two then years diddleing around trying to learn it on your own. Tracking can be fairly easy if you have the right gear and good performance to record. Its the mixing that you can spend allot of time on, especially if the performance is weak and you have to pull all the tricks out of the hat getting a performer to sound better than they actually are.

  • #3

    Here is a site that just might be exactly what your looking for. You can also ask any question you have from the contact form. Worth a look. Home Music Studio 1

    ',','Lansing, Michigan


  • #4

    Thanks guys.  I'm pretty new to this myself, and some of these resources look very useful.


    • WRGKMC
      WRGKMC commented
      Editing a comment

      There are some good books you can buy as well. I'm bought a book by Bob Katz called Mastering Audio: The Art and the Science. Even though its targeted to mastering the recording after the tracking and mixing are done, It contains many elements that are essential to know and can help someone new to recording.

      The big thing you discover when you begin recording, after the initial novelty wears off, is you quickly need to understand there are calibrations, baselines, and limits you want to work within. Push the limits of the software or hardware either by ignorance or accident and you can destroy the hard work you put into performing music and tracking it.

      These parameters aren't super hard to learn, and you don't even have to learn them so you can recite them back word for word. You simply know what the results are when you do cross certain lines and push barriers and avoid them so you don't have to backtrack and undo as many screw ups.

      As far as learning to record its much like any education. You can be taught the theory or the practical application first. Since the cost of gear and software are so inexpensive now most jump straight into the Hands On practical application first and get stymied by what they don't know, then make up their own rules to work by. Some may work and they don't know why they work and others are just beyond their comprehension because they were never given the theory before they began dabbling around and box themselves in with false concepts and bad techniques.

      I have nothing against someone starting with the hands on first. I in fact had to learn that way. Back when I began, I had no access to high end gear and everything I learned was from books that were extremely advanced for my age. I eventually went to school for electronics and had to reeducate myself the correct way. I still have many ways of seeing things that aren't mainstream because I only had to bend my understanding enough to meet up with the theory. I can say its provided me steady employment for the past 38 years and I have no regrets in how I had to learn things.

      If you do begin recording with the hands on, you have to remain flexible to learning new things, and different paths to the same goals for the rest of your life. Its actually all the dead ends and the wrong turns that create the art in back of audio production. You often wind up in a box with only one door and you'll examine every inch of that box for another way out. Fact is that's exactly what must be done in every case. You wont know the limits till you do.

      The analogy I like to use is this. Building a great recording is much like building a home. You can have the house build for you and pay the tab for it. That's like going to the studio and just paying for the work to be done. If your goal is to make a hit record today, this is by far still the best method of getting it done. You can focus on your musical performance 100% and when you compare the actual costs involved, its peanuts in comparison to learning to record yourself.

      Recording gear is cheap but the education in back of learning to use that gear can take decades to learn. If you're a musician you should realize, its not the instrument that makes the music, its the artist who wields that instrument that makes it sing.

      If you were to build a house properly yourself, you would have to learn each and every trade involved building that house. You'd have to take a job as a Mason to lay the foundation and slab, a Carpenter who puts the frame up, A plummer who puts the pipes in, An electrician who puts the wiring in, a Roofer who puts the shingles on, A sheetrocker who puts the walls on, A Finisher who can put molding on, paint the interior, exterior etc and make it look good, A landscaper who can make the yard look good, etc ect.

      In back of it all you have an Architect who knows every aspect of building and can write up the plans the other workers follow so the buildings safe, up to code, looks good, and is highly functional. Its also worth something when its sold to someone because its something someone wants to buy. It makes no sence spending money on building something is you have no buyers.

      This is where the theory and practical meet in audio. You have people who work in major studios who are a collective. One guy may be an expert at choosing and setting up mics. Another may be great at tracking, another may be a mixer, another a mastering engineer, etc etc.

      They all follow a chain of events that make the job for the next guy in line possible. If the guy setting up mics makes a poor choice with a mike type or position, do you think its not going to be recognized by the next guy doing the mixing or mastering? The key is to make the next guys job easier by exhausting all possible errors and doing the best job possible within your own range of expertise. If a song is tracked properly, chances are the next guy in line has very little to do. There again If the guy setting up mics is out on vacation, the mixers job becomes a nightmare fixing bad tracks.

      If the mic technician did his job, the mixer is free to use his tools artistically. Instead of propping up walls ready to fall over because the framing guys sucked, or performing heart surgery on every track, The mixer can do very cool things to a mix without worry of harming the natural sound of the music. 

      Then when it gets to the mastering guy ( who is much like an architect and knows all the aspects of dealing with a finished product) he can put a shine on the product that attracts others attention to listen and buy the product.

      Then you have to consider the products used to build that home. Was the lumber chosen to stand the test of time or was it bought at the lowest cost and likely to fall apart. Did the carpenter use bad tools and bad techniques in the build that compromised the buildings quality? Same things hold true in building a recording and building a studio up.

      In back of it all is the experience and knowledge of those doing the work. Someone experienced can take cheap wood and make it work. Its harder stuff to work with but he knows how to reinforce things that aren't in the blueprints and can't be learned in school. It comes from being stuck in that box and cutting a new door to get out with the tools you bring with you. He couldn't have done that without an equal share of experience and education or the box may have collapsed If he chose the wrong placement for the door and reinforced the frame to hold the weight of the building above.

      Learning each and every step of the recording process is no short cut and it doesn't save you money. If you want to compete with the really good commercial recordings, you have to learn both the hands on and the theory in back of it. The mason may begin his career hauling bricks. Then he learns to lay them, then he learns to hire others to do the grunt work, Then he gets his own clients to build a business. Or he may switch jobs and haul shingles up to the roof, then he learns to put shingles on so the roof doesn't leak, and fix holes when it does. Plumbers have to be able to fix what they screw up and tearing a wall out to fix a leaky pipe is at their cost so they make sure they do the job right the first time.

      Again, this is the same in recording. If you wait to learn how to properly mic something in the mastering process and have to go all the way back to tracking and having the musician play his parts again, you can have dozens of people pissed off at you in an actual major studio due to your fluck up. In a one man studio this may not seem like a big deal, but you must put that kind of pressure on yourself as though you were working in a major studio If you have any hopes of making each step of the process flawless, and ending in perfection.

      The faults in a recording are collective. It begins with the musician and the sound he produces. Along the recording chain there are limits on tools you can use to fix or mask problems. Each take a bit out of the quality of the sound. The old adage you can't get something from nothing is alive and well. All the technology in the world can't fix a bad performance, a poorly written song, or a bad musical composition. Recording engineers can only work with what the musician produces.

      Recording is fun though. Even If the techniques, quality and finished project are lame, you have to begin somewhere. After a couple of hundred recordings, they start sounding better because you learn allot along the way. When you run into a bottle neck you educate yourself on the options available and expand that bottle neck and get the most quality through. Then when you have several thousand recordings in back of you and mega hours as a performer tracking you can begin to target exactly what you want from beginning to end. You know what it takes every step along the way and it just becomes mind over matter (and technology) getting there.

      Lastly, remember, no man is an island. You really need to network with others that have your same interest to stay active and pushing that envelope. Life sucks when you have no competition or comradery. I been recording for at least 45 years and can do just about anything I want for my own music and writing. I met a drummer at work and he knows a guitarist from a band. I heard his recordings and he heard some of mine. I could tell where he was in his abilities by listening, and I know where he needs to be challenged. He knows he needs to be challenged and called me to get together to record.

      I got nothing better going on and I find working with a rookie who has experience fun because I get to re live his discoveries ad they are unveiled to him. The trick is to get him to discover them without letting him know he was shown the path. All musicians have egos and you get nothing good from bruising them. Ask any engineer what's involved in working with clients and you'll learn its the same as any service related business. If the client leaves wanting more and is willing to pay for it, you earned your money for they day and everyone is happy.