How to Use Your Outboard Processor with Pro Tools

There's a trend for audio interfaces to include insert points on the inputs, greatly simplifying the use of line-level processors when recording mic or instrument-level signals. You'll probably need a TRS-to-dual-TS insert cable to accomplish this because invariably the insert will be sent and returned on a single TRS jack. Simply patch the interface's insert to the in and out of the processor, and the processor becomes part of the recording chain. Remember that anytime you involve a hardware processor with your DAW session, you must process and bounce in real time, even when using an external plug-in processor. 

If you're lucky enough to have an arsenal of outboard mic pres, simply route the output of the pre into a compressor or EQ, etc., and then route the output of the processor to the input of your audio interface. The signal will be compressed or EQ'ed before it's recorded. You now have a reason to keep some of your old hardware around!

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Ready Mix

31. Listen in the studio to CD's you're used to hearing on your home stereo to get an ideal of how the studio's system sounds.

32. If mixing somewhere other than the recording studio you recording in, try and make sure you use the same type of speakers and set-up. If you don't, the mix will sound completely different.

33. Once you have selected an engineer (or a producer) to mix your recording, have them do the first mix. Their ears are better trained than yours. Try to keep an open mind and try to learn from the person you're paying.

34. Think about the songs as a whole and don't signal out instruments, otherwise everyone will want their instrument louder in the mix.

35. Determine a band spokesperson ahead of time. An engineer getting five different opinions on how to mix will grow tired and might cause him/her to rush through the job.

36. Decide which format you want the finished mixes to be on: high resolution .wav or .aiff files on CD-R, DVD-R, or flash drive are the preffered formast, however an audio CD or DAT are viable options as well.

37. Budget and account for unforeseen delays.

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Monitoring the Mix

27.  Listen to your music at moderate levels in your car or on a boom box. This is how most of your fans will listen to it, and mixing at loud levels will fatigue your ears and distort the "true" sound.

28. Sometime it's good to take a day off and come back to listen. The same applies for mix-down. Ears don't last very long in the studio.

29. As you review each mix, make sure you can comfortably hear all of the instruments. Tweak the mix on a small pair of speakers at an extremely low volume. Headphones are also very valuable at this stage. You should be able to pick up each instrument even at this level.

30. Learn to recognize ear fatigue. You're better off quitting a session early when you're tired than wasting time making a bad mix that will have be redone anyway. 

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The Recording Process 

20. Don't necessarily double track everything. Doubling a lead vocal can hide all the subtleties that make a song personal and likable. (Although it can work well for a chorus).

21. Know when to quit for the day, if your tired if will show.

22. Keep guest out! It's your recording. Guest will distract you can menu sway your opinion of how the music should sound.

23. Make backup copies after every recording session.

24. Turn-up often!

25. Singers: always bring water but don't use ice! Ice constricts your vocal chords. Hot tea with lemon and honey works well to relax your vocal chords.

26. Always get a track listing and accurate time log from the studio.

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The Recording Process

14. Remember, it's emotion and feeling that make the best song, not necessarily the best technical rendition.

15. If you mess up a part while recording, don't stop and start over. That can easily cause you to burn out. Instead, check to see if the engineer can punch in the correction.

16. You don't have to fill all the tracks on the tape - don't try to force something that won't fit.

17. Always keep in mind the focus of your music. If it's the vocals, plan to spend the most time on them. Don't waste time on things that don't highlight the focal point.

18. Get the sound you want while recording, never assume you can fix it in the mix.

19. Unless you have unique effects, record individual tracks clean and add effects later.

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Pre-Production

Try some of these tips to Record a great Album

1. Record your songs during live gigs and pre-production rehearsals. Even a simple single track recording may reveal weak parts of songs.
2. Have all the musical and vocal parts worked out. Know who going to do what and when there going to do it e.i. SOLOS , BREAKS, BRIDGES. No reason to go to the studio and then start wasting time on figuring things out, remember (Time is Money). Even if your not paying for studio time, it's still hard to find the time to get everyone together and frustrating when bands mates and engineers are not on the same level.
3. Using a computer or Sequencer? Prepare all sequence material before the session. knowing the programs and using templates are a great way to do this.
4. Rehearse more songs than you plan to record. You never know which songs will sound strong on the final product. (If you plan to have a four-song EP, prepare six songs just in case. 
5. If you plan to use a click track, make sure your drummer is comfortable playing to it. (To get tight, practice to a click track at a very slow tempo.)
6. Take care of your body before and during your recordings sessions. Eat well, get engouh sleep, and keep your ears rested and clear.