Recording Handbook - Hol.gr
Recording Handbook - Hol.gr
Recording Handbook - Hol.gr
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This version was completed 12/4/96.<br />
0.2) FAQ locations<br />
This faq can be found at http://www.haydensferry.com/stomp/studio-faq-01.html<br />
0.3) About the author<br />
The author of this FAQ is Hal Haygood, lead guitarist for Stomp Gospel (see 0.4). In addition to<br />
my fantastic guitar playing (hell, at least *I* think it is), I'm an in-house and on-site engineer for a<br />
systems inte<strong>gr</strong>ator. Oh, and a full-time student working on a BS in CIS. I'm a tube nut. I play a<br />
Telecaster through a SF Bassman. I'm in Phoenix. I can be reached at hal@suncap.com.<br />
0.4) About the author's band<br />
Stomp Gospel is a roots-rock/alternative band from Tempe, Arizona. We consist of Charlie Curtis<br />
(vocals), Chris Connelly (bass), Bob Miller (drums), Paul Fredricksen (rhythm guitar) and me.<br />
We've recorded a five-song demo and a CD project at Blue Sky <strong>Recording</strong> Studios in Tempe.<br />
We're signed to Hayden's Ferry Records.<br />
0.5) Disclaimer and Copyright<br />
First and foremost, keep in mind that this is all being tainted by my experiences in the studio. The<br />
band didn't help me with this (I didn't ask). Therefore, there's probably a slight emphasis on guitar<br />
work and smaller studios. I don't know how things work at the really expensive studios; Blue Sky<br />
is a fantastic place to record and it's pretty inexpensive.<br />
I made up the questions myself. If you have other questions or answers, or if you think I'm totally<br />
wrong, please email me at hal@suncap.com for inclusion in the next version.<br />
There are lots and lots of my personal opinions in here. Your mileage may vary.<br />
The information contained in this document is for informational purposes only, and the reader<br />
assumes all responsibility for damage resulting from following the suggestions made.<br />
This document is copyright 1996 to Hal Haygood. Redistribution in electronic form is encouraged<br />
as long as this copyright message is included and no fee is charged other than standard online<br />
access fees or media fees. Please contact the author for rights to redistribute this document in print<br />
form and/or for a fee. All rights not specifically <strong>gr</strong>anted in this para<strong>gr</strong>aph are reserved to the<br />
author.<br />
If you link to this document, I'd appreciate it if you let me know at hal@suncap.com.<br />
SECTION I: GENERAL<br />
1.1) Why should my band record something?<br />
Lots of reasons. First, and perhaps most important, you'll need something to give to clubs for<br />
booking. If you don't have a tape, most clubs won't even see you. Another reason is to shop labels;<br />
even though, realistically, the chances are slim, some bands have gotten contracts from demo<br />
tapes. You might want something to prove to your parents that you're doing more than just making<br />
noise in the garage. You might want something to sell or give to your friends.<br />
Chances are, if you're reading this, you should be recording. The author's personal opinion is that<br />
recording is a GOOD thing. There are several benefits to the recording process other than the<br />
finished product -- better musicianship, a chance to hear your songs without playing them, a<br />
chance to maximize your full potential as a band, a chance to make your music something more<br />
than it is so far.<br />
137<br />
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