GETTING THE BEST OUT OF THE LODGE

We now have both the facilities and know-how to do an even better job of the final mix and production than we were able to do in the past.

Ideally, Mixing and Mastering should not normally take  place on the same day as Recording. There are exceptions to this doctrine but as a rule, you are likely to get a much better outcome by separating the two processes.

Fresh ears are always going to be better than those of a tired engineer, (however conscientious), who has been listening to the tracks all day.

TOTAL RECALL

In Studio Two, the Monitors and the Room itself are specially designed for the mixing process and it is easier to hear exactly what is going on.

When it comes to the Mixing phase, Studio Two has quite a few more advantages over Studio One. For a start, the whole system is automated with Total Recall.

Mixes are able to be much more detailed because of the level of control that can be imposed on all the parameters. Levels, EQ, Panning, Dynamics and FX parameters are all automated and can be recalled, and fine tuned at will.

Total Recall means that it possible to go back to a mix done at a different time, go in and do a few tweaks and re-master in a very short period of time.

With a project DVD master of your tracks, you can pickup exactly where you left things weeks, months or even years later. If after getting your tracks home, you wanted to make a small adjustment to, say, the level of the main vocal, or put a bit more reverb on a guitar, it is a simply and very quick process to come back in and make the required adjustments.

Although Studio One is still by far the best place for recording and track laying, any mixes done in this studio cannot be saved in this way and making any changes would mean starting a remix from scratch.

WHAT'S SO GREAT ABOUT TOTAL RECALL

Total Recall will save you time and money and bring your mixes that nearer to perfection than possible previously. Gone are the days of "Hit 'n Miss" mixes

Total Recall - (invented by SSL) is the ability to recall a mix in any state at any point in time.

For example: Suppose you had come to the end of a long day mixing your tracks. On listening to them all back to back in the car on the way home, you now realise that the kick drum was too quiet on the first song to be mixed on that day.

Normally, you would either have to put up with it or book another mix session and start from scratch. With Total Recall you simply load the mix back onto the system, and as if by magic, the mix is there in front of you just as you left things on the day of the session. Now just turn up the kick drum and press record. In a matter of minutes, the problem is rectified.

SURROUND SOUND

A lot of bands are now enquiring about surround sound. Studio Two has some of the best facilities around for mastering these formats to go with their videos.

A difficult question to answer. The things that take up a lot of time in this studio are:

• Complex requirements of production/arrangement.
• Technically difficult music.
• Getting a good drum sound from a badly maintained/tuned drum kit.
• Out of tune guitars. (These often need to be sorted out by restringing/adjusting the intonation).
• Repeated "re-takes" due to lack rehearsal/expertise.
• Arguments arising from a difference of opinion within the band with regard to content/production.
• Equipment failure.
• Too many drugs.
• Too much booze.
• Interference/distractions from friends, outsiders and hangers on.

So: sometimes it is possible to record and mix a whole album of songs in a single weekend. A very well rehearsed rock band with a good drum kit and only vocals and a few instrumental overdubs to record should have no trouble with this. We have done quite a few times in the past.

On the other hand, a band or solo artist with one or more of the things on the above list will take longer. Some bands spend several months recording an album. Some are quite happy if they can get three songs done to a high standard in a weekend. More experienced recording artists usually know how long things generally take them to do and make their plans accordingly.

Our advice is this: Put quality before quantity unless you have a good reason not to. Someone listening to your demo for the first time needs to be impressed within the first twenty seconds. Make sure that you are completely satisfied with everything you record, as you go along. It is time consuming and expensive to have to go back and redo things at a later stage. As  a general rule,  the more work you are prepared to put into a track, the better it will sound.

One thing you can be sure of is this. The lodge will always take full responsibility of any delays caused by the studio itself and will always make generous allowances in compensation.

Your engineer will give general help and advice with respect to the following:

• Setting up.
• Tuning of instruments.
• General performance advice.
• Quality control (Timing, Tuning and Sound Quality)
• Give his opinion when asked.

Your engineer will not generally get involved with the following:

• Taking on the responsibilities/role of a producer.
• Performing on the tracks.
• Arranging the music.
• Generating lyrics and/or music.
• Get involved with band politics and disputes.

The role of a record producer is as follows:

• To take charge over, and responsibility for, the recording session as a whole. (Rather like a film director).
• Make decisions and suggestions about every aspect of the recording process.
• Help with and suggest various improvements and additional content. (Vocal arrangements, overdubs, sound fx, etc)
• Get the best out of the performers and writers involved. (Quality Control)
• To perform on the tracks if required.
• To be the arbiter in the case of any disputes which may arise.

If you feel there are things on this list that you cannot or do not wish to do for yourself and do not fall within the remit of the engineer's responsibilities, you should consider having a producer.

Ideally, you should bring all the gear you normally use (except PA equipment). However we do have the following Guitar Amps available.

• Line6 Pod Pro + FloorBoard
• Slimline Marshall 4 x 12
• 400 watt Crown Power Amp
• 200 Watt Marshall Studio Combo
• 200 Watt Peavy Bass Stack

We also have a Pear Drum Kit in good condition. You need to bring your own cymbals and hi-hats. Most drummers who decide to use the studio kit also like to bring their own snare and bass-drum pedal.

Other things which people tend to forget are:

• Guitar Strings
• Guitar Tuner (if you need one)
• Drum Sticks
• Drum Key (If you are using your own kit)
• Spare Bass drum Skin
• Spare Snare Skin
• Paper and Pens

Above all you should try and come with plenty of ideas and well work out parts - have a good think about your recoding plans before you come in. Make sure you have a fallback plan if things don't go as expected.

A 10 hour day includes an engineer and starts at 10:00 am and finishes at 8.00 pm. It must include a break for the engineer equivalent to 5 minutes per hour.) This break is usually taken in one or two chunks.

It also includes the use of all the studio gear as listed on our main page.

It does not include any media. (CDR's - DVD,s)

For a full explanation of the way we do things, please see out terms of business.

If so we might be prepared to fix it for you for free. We have just had to repair a badly done job for one well known local band who ended up spending a lot of money at another studio not so far away from here and came away very disappointed.

We have a great team at The Lodge and they all understand what is needed. I suggest your first step should be to pay us a visit and bring the offending recordings with you. After that we, we will give you an honest opinion and maybe a few suggestions.

When I moved The Lodge to Northampton in 1993, I decided that my new location would be largely for the benefit of the local music community. I have kept my word to myself and done just that for the last fifteen years

I am not really a businessman. I am not like Big Bill Davidson who runs the Soundhaus, et al, and I am not motivated by making money for its own sake. I wish I was - I'd be rich by now, but the truth is that I am just not made that way.

Instead, I am like many of you - a musician. And I have spent most of my life on stage or in the recording studio with my band, The Enid. This is how I really make my living.

When I was a young man, I was able to see all the great bands of the past, The Doors, Led Zeppelin, The Who and Hendrix to mention a few.

Before I formed my band, I worked for nearly three years with Pink Floyd producer Norman Smith, and I learned how to record and produce bands at Abbey Road in the late sixties and early seventies.

We are always happy to meet young musicians needing advice and encouragement - our door is always open at The Lodge - feel free to drop in on the off chance or ring to make a time.

All the best

Robert John Godfrey