FAQ

The information given below is intended to answer many of the general queries I get from potential clients. If you have any specific questions that are not addressed here, please me and I'll get in touch as soon as possible.

How long will it take to record my song(s)?

This is probably the most common question (other than "how much will it cost?") and is the one with probably the longest answer! The length of time taken for a recording project depends upon many factors, including: the length of the song(s) to be recorded; the number of parts (instrument/vocal) involved; the number of re-takes needed, and; the method of recording used...

Overdubbing is the process in which parts are recorded one-by-one to build up a complete multi-track recording. For an average rock/pop band this would mean recording the drums first and adding the bass guitar, then rhythm guitars, keyboards, solos and vocals in subsequent sessions. This method is undoubtedly the best way of capturing each part to the highest standard as individual instruments/vocal-lines can be focused upon without acoustic 'bleed' from other instruments. All efforts can be concentrated upon getting the best sound from the source in question. Also, any mistakes made in performance can simply be addressed by doing another 'take' without affecting the other parts of the arrangement.

This method involves recording a band essentially 'as-one', with the band performing together as if playing live. All instruments are individually mic'ed (or DI'ed) so that each part of the ensemble can be edited and mixed later. This is often quite a good way of capturing the 'live' spirit of a band, but there are limitations to this approach that can compromise the ultimate quality of the capture of parts. Sound from neighbouring instruments can 'bleed' into other part's microphones and as all members of the band are playing at the same time, a mistake from one can render the recording unusable - often requiring many re-takes until everyone is satisfied with the end result.

For those clients that desire a 'live' recording method (due to budget or the wish to capture a live feel) I strongly advise allowing for key parts (such as vocals and guitar solos) to be overdubbed at the studio in a later session. In this way, important lead parts (that can often take several attempts to perfect) can be focused upon without being unduly influenced by the rest of the recording.


As a very rough guide, the instrumental recording of a basic 3-ish minute song by a four piece band (taking account of setting-up and sound-checking but discounting additional instrumental parts/harmony vocals etc.) would take at least 6-8 hours using the overdub method, and at least 3-4 hours using the live method. These estimates are based upon a pretty straightforward recording project - bear in mind that a more in-depth recording (such as one intended for commercial release) may involve additional factors such as the recording of guide-tracks, extra supporting instruments/vocals or doubled tracks and experimentation with recording techniques that would all require extra time.

Once the basic tracks of a project have been recorded (and unless the client wishes to simply take the basic unedited multi-track recordings from a session) they will need editing, mixing and mastering to create a finished, stereo version.

Why does my recording need editing, mixing and mastering?

When tracks are recorded they are usually captured as cleanly as possible, with little or no use of EQ or processing. This allows decisions regarding the tonal shaping of sounds and the application of effects to be taken freely in the mixing stage, enabling a wider choice of possibilities in creating the character of the final piece of music.

Editing involves taking the raw tracks from the recording session(s) and 'cleaning' them up. This typically means trimming unwanted bits of noise from individual parts and, where possible, fixing any performance errors. Ideally, parts would be performed to the required standard from the outset, but to a certain extent, monophonic tuning errors can be corrected (ideal for vocal 'issues'!) and errant instrument hits or bum notes can be removed and replaced by copying and pasting suitably correct material, where available.

[- In addition to the general editing and mixing techniques, BLS also offers further advanced processes such as drum replacement (the use of professional drum samples to replace or enhance live recorded drum parts) and guitar re-amping (the replaying of existing DI'ed guitar parts through in-studio amp/effect chains and the subsequent re-tracking, allowing flexible tailoring of guitar tones used in the final mix) -]

Mixing is the process of arranging the multiple, edited tracks into a coherent piece of music, treating them with EQ, dynamics and effects if desired, and ultimately mixing them down into a stereo format. At BLS, mixing is usually done over several unattended sessions once the client has completed recording the raw material for a project. This allows for a more objective viewpoint to be maintained throughout the project, and is more time-efficient for the client. Each individual track will be scrutinised and any unwanted noise will be removed before EQ-shaping and dynamics/effects processing are applied. Parts are then roughly balanced in level and panned in the stereo field before any changes are written into mix-automation and fine-tuned to create the finished mix.

Mastering is the final stage in creating a finished version of an audio project. Completed stereo mixdowns are treated to overall EQ, dynamics and effects processing and the lead-in/lead-out of tracks are managed. Global levels can be adjusted to equate with commercial releases (although the importance here is to ensure that a sense of dynamic range, relevant to the style of the piece, is maintained rather than simply 'slamming' the levels up to maximum!). If the project is an EP or full album, the gaps between tracks and the balance of their relative levels are carefully considered. Finished master tracks are 'dithered' down from the high resolution files used for recording and mixing, to the standard audio CD resolution of 16bits/44.1kHz. To ensure the highest standards of reliability and compatability, all master CD's created at BLS are done so using high quality Taiyo Yuden CD-R's authoured on Plextor CD writers.

How long does mixing and mastering take?

As with the recording process, mixing time depends several factors, including: the length of the piece of audio; the number of parts involved, and; the complexity of the material. A very basic mix of a single vocal line and backing track may only take an hour or so, but a complex mix of a multi-track recording requiring many edits and automation of track levels, panning and effect parameters can easily take eight hours or more. In creating a professional mix it is not uncommon to also 're-visit' the piece in a subsequent session before deciding upon the final mix to put forward for mastering. Generally, it would be recommended to reserve at least 50% of your project budget (i.e. the same amount as for the recording of tracks) to cover the costs of editing, mixing and mastering.

For mastering, the resulting mixdown is auditioned several times as overall tone shaping, dynamics and effects are addressed. Playback of test masters may be employed to ensure that the master will suit the intended end use, before a final master is decided upon and authored. As with mixing, mastering times can vary depending upon the complexity of the material to be mastered. A basic mix (such as a single vocal line with pre-recorded backing track) can be mastered in an hour or so, but mastering of more complex material (especially for mass-duplication and commercial use) may take several hours per track.

How much will it cost?

Hourly rates for recording, mixing and mastering are listed on the rates page of this website. Basically, all client attended sessions at the studio (such as when actually recording vocals or instruments) are charged at £20.00 per hour. If your project requires a session at the bigger 'live' room (for drumkit or full-band recording) then this costs £25.00 per hour. Once the recording of tracks is completed, your project can be edited, mixed and pre-mastered to CD. These elements are carried out in subsequent, client-unattended sessions at a rate of £18.00 per hour.

If you wish to utilise the location recording service, please contact BLS with the details of your project for a quote. All location recordings are discussed in full prior to the first session, so that the specific requirements of your project can be considered. Once the raw multi-track material is brought back to the studio for editing, mixing and mastering, the standard BLS rates apply.

For each project, a fully error-checked master audio CD (suitable for duplication) will cost £5.00 Backups of project data (such as the multi-tracks used within the mix) are available on request at a cost of £10.00 per DVD, plus the time involved in compiling and prepping the files (at standard £18.00p/h).

If you need BLS to provide live guitar/bass/synth parts or drum/percussion programming for your song, these can be prepared in-house to your brief, for the studio time involved plus musician fee. It may also be possible to provide live drum recordings for your project with a professional session drummer - please enquire for pricing.
If your project requires the creation of original music, please contact me to discuss a quote.

If you are still wondering about the potential cost of your recording etc, drop me an at BLS and we can discuss the specifics of your project. Obviously there is a relationship between the depth of content of a project and time-taken/cost, but even if you are working to a fixed budget it's usually best to let me know, so that we can prioritise how best to realise your project.

How do I pay?

Blue Lizard Studio accepts payments in cash or by cheque, made payable to "Blue Lizard Studio". If necessary, payments can be accepted by PayPal (min. payment £50, subject to a 3.5% transfer fee).

A recording session can be secured with an initial deposit to cover 50% of the session fee (£20.00 minimum deposit). Unless a set-fee has been agreed, payment is to be made for each session, in full (minus any deposit already received), at the end of the session. All final master CD's and multi-track recordings remain the property of BLS until final invoice payment is received in full.

What happens in a typical band recording/mixing/mastering project?

After the initial discussion of the project with the client, the first recording session would be booked. If necessary, this would be a simple recording of guide tracks to be used to cue in the rest of the recording. Although a simple click track will often suffice, a more appropriate 'human' feel can be created by using a bare-bones version of the song (clean guitar and vocals) to cue in the rest of the band.

With guide tracks in place, a session can be arranged at the live room for the drums to be recorded. A full multi-track recording of the drumkit parts for the project will be made - it is usually preferable to record at least two versions of each part so that the best ones can be picked during editing back at the studio. If required, the bass guitar parts may also be recorded alongside the drums (usually by DI box so as to avoid acoustic bleeding into the drumkit microphones). Once completed the drum tracks will be transfered to the DAW (Digital Audio Workstation) in the studio and prepped for the next session

Rhythm guitar and/or keyboard parts are usually addressed in the next recording session. As well a Yamaha Motif ES hardware synth, BLS has several direct recording options for electric guitar (Tech 21 PSA-1, Yamaha DG, Roger Linn AdrenaLinn II) as well as a valve head into a mic'ed speaker cab in the isolation booth - but bands are welcome to bring their own gear if desired.

The singer would usually be the last to the studio for the capture of vocal parts. BLS has a choice of warming classic valve tones or clean solid-state preamps to compliment a range of industry standard microphones. The iso-booth is acoustically treated to allow vocals and other overdubs to be captured with clarity and focus.

Depending upon the depth and level of the project, additional instrumental overdubs, solos etc. may also need to be added. Some projects may also require longer sessions to allow creative mic'ing and experimentation in the recording process.

With all the necessary raw tracks recorded, the next step is to edit them as necessary (trimming unwanted noise, compiling the best takes from multiple parts) and mix the material to create a stylish and cohesive stereo piece of music. With experience in various styles of recorded music and a dedicated approach to each individual project, Blue Lizard Studio will create a fully automated mix employing a range of audio processing from high-quality software plug-ins to industry standard hardware units. All mixes will be treated with objectivity whilst being sympathetic to the conventions of the intended style of music, and if the client has any express wishes or intentions for the finished version, these will be taken into account in producing the mix.

Completed mixdowns would then be mastered to create a final audio CD version. Mastering is a necessary process in ensuring that the balance and level of a completed audio project are of a commercially competitive quality and suitable for mass duplication and release. Final masters are authored using Plextor CD/DVD writers onto Taiyo Yuden blank media. Once this process is tested (all final masters are tested for C1, C2 and CU errors using Plextools Professional software) and completed, the client will be contacted and informed that their project is finished.