Recording Tip – Fix It Now, Not Later

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chimneys-almost-closed-steve-santa-albini-and-wife-whinna-christmas_top.jpgAbout a decade ago I can remember reading an interview with god of recording Steve Albini, in which he dispensed the advice “fix it now, not later”, when making a record. Ten years or more later I think of that saying on a nearly daily basis. With years of thought I realize this may be one of the most important philosophies in making a good record and the more I get better with it, the better my records become.

In time I have realized when I haven’t followed this mantra there has been times when I have thought about the mistake I heard in a song for more time then it takes to fix it. Not good. As an added need to fix it as soon as possible, is it is usually easier to fix any mistake right when it happens, rather than later on. We all know that the idea of fixing things in the mix is the saying of an amateur, but the real reality is the faster you fix every flaw the easier it is to work and the happier you are with each and every record you make. Isn’t that what it’s all about?

Jesse Cannon is the editor of Musformation. He produces records at his studio Cannon Found Soundation. Follow him on Twitter at @JesseCannonMusF. For more info please visit his website.

  • Anonymous

    That’s a good mantra not just for recording, but for life in general.

  • Jimmy Jazz

    most engineers tell you they’ll fix it later because they are lazy. Don’t let ‘em do it! Make sure you try and fix everything ASAP even if everyone else is reluctant.

  • Anonymous

    Doesn’t “what take number is this?!?” forego the mantra somewhere? I read today that Steve Adler had 40 or more takes to record “Civil War”. At what point do you call it an edit?

  • Davey Wavey

    Some people can cut a take in one or two takes while other can take 7 passes before they are in the zone. I think you have to be right on it and be ready to get rid of performances that the players aren’t happy with (be decisive to keep your session manageable). So don’t necessarily look to patch up a performance until the take has got something going for it.
    Once you’ve got a take to build on then go right in and recut the section/lick/whatever before the mics are moved and the settings or the set-up is changed.
    It helps to have the right person from the band and who knows the player you’re recordings parts well enough to come to a quick consensus on whether a take is cutting the mustard.
    Peace
    Davey Wavey