Recording live is a straightforward process. All of the equipment is taken to the recording location, set up, adjusted, and checked. There can be a rehearsal period, but the performance is recorded in one take. All of the equipment is packed and returned to the studio.
Studio recording is more time consuming in that it always involves repeated takes for each song to be recorded. Ideally, instruments and vocals are recorded separately, and as many times as necessary to capture what the artist considers their best performance. Recording all of the tracks for a four minute song may therefore require one to two hours. A single studio session needs to go at least this amount of time in order to make progress. Otherwise you risk having to start over and work up to a good energy level for the performance. Usually after about three hours of work, energy levels go down, voices get a little tired, performances get a little loose, and its time to take a break. This process is repeated until all of the recording work is complete.
Both of the above processes are then finished in the same way. The separate tracks are edited and mixed in the studio. Graphics and packaging are prepared, and the CDs are mastered and produced. Work for a single song can usually be completed within 24 hours. We work each project from start to finish. We won't put your project on hold so that we can start one for someone else. Important! At the completion of your project, you will receive the audio CD master, and all of the original track data to use as you wish. We don't keep copies of your work unless you request us to do so.
The single most important factor in having a successful recording session is to come prepared to perform. It would surprise you how many times we've had to reschedule when the author stopped to rewrite instrument lines and lyrics, or run a rehearsal with the players. It helps to use any recorder you have available to make a series of work files you can listen to, and complete any changes necessary well before the recording session is scheduled. The final copy of this work file can be given to any musicians and vocalists you will use. If the vocalist needs a key change, the musicians will know about it before arriving to record. It also helps us if you provide a copy of the entire song structure (without any shorthand for repeats) so we can make notes during the performance for use later in editing.
If the material to be recorded is your original work, and you want to protect your ownership and right to perform, you will need to file copyright registrations. There are two forms of these you will need to complete. One is for the composition, and covers your sheet music, tablature, lyrics, and so forth. The second is for the recorded performance itself. This process can be done via the internet at www.copyright.gov. If you want to promote your music independently, you should also consider joining ASCAP and/or BMI (www.ascap.com, www.bmi.com).
If you are recording music that is owned by another individual or publisher, you will need to obtain a mechanical license to record and distribute your CD. You can start this process online at the Harry Fox Agency (www.harryfox.com). If you only need to make a few copies (any number less than 2500), you can use the HFA songfile service of the agency. After creating an account, you can find the song and representation information. If it shows that HFA has 100% representation, you simply pay the royalty for your number of copies. If HFA represents something less than 100%, it means that there are rights holders you must deal with directly. You'll need speak to HFA, or search ASCAP and BMI to get the contact information for the other owners. You must complete this step even if you will be giving CD copies away. Copyright law requires the royalty be paid at the time of manufacture. If you've secured the mechanical licenses needed, you can, as a final step, copyright your performance.
If you are recording an audio file that you intend to use in a video production, you will have to obtain permission directly from the rights holders. You can't use HFA to get this type of license. Again, you'll need to research ownership through ASCAP and BMI.
This is a general overview of the licensing process, and is not intended to be comprehensive. This is simply to make you aware there are specific legal arrangements you must comply with to perform work secured by someone else's copyright. You would be well-advised to utilize the above agencies as a starting point to ensure you are in compliance with current copyright laws.