| Last tip (part 1) we learned that gold record
projects have been accomplished by "overcutting" and then "weeding
out" A band should cut 25% more than they plan to release and to
"weed-out" the weakest cuts. |
| In 1969, Holland Dozier Holland Studios
installed a second 16 track recorder and RCA Unilock synching equipment to
"lock" the two decks together for 32 track recording. Why did the
producers want this capability? It can be summed up by how Edward Holland Jr. used
this extra track capability. |
| Mr. Holland Would have the chief engineer (L.
T. Horn) prepare a "Sync" reel that had a mix of the production on 2 - 3 tracks.
With one track used for synchronization, this would leave 12 to 14 tracks
:"open" for vocal overdubs. |
| I remember he had one singer do three
sessions in one week on one tune. Each of the sessions would last 5 hours and they
would record onto 4 tracks each session. After 3 days, there were 12 tracks of lead
vocals. |
| Mr. Holland would then have a session where
he had LTH sync the two machines together and bounce from the twelve vocal tracks back to
the original session reel. He would be able to choose from 12 different performances
foe each vocal line, and did make a composite from about 8 different tracks for this one
example tune. |
| So on your overdubs also perform several
times and take the best of several takes, recorded on several tracks, if at all
possible. This technique would be very applicable to lead vocals and even lead
guitar parts. |
| It is interesting that some of the most
popular home "recording workstations," (the Roland VS-880 and VS1680) have
"track layering" where you can record several performances on "track
layers" and edit a composite of the different performances as your final
"track" |
