Peter Careys Rhythm Room

Peter Carey's
Rhythm Room Recording Studio
Things To Consider
This studio is a high quality, owner/operator recording space and it’s in my home.
Thank you in advance for being respectful of MySpace.
What can the studio do for you?
Your project can be recorded, mixed and (if needed) mastered in one location. The complete process of making a record. (see Mastering below).
You can get assistance and suggestions for writing, arranging, playing, singing or programming on any or all parts of your production to help you accomplish your goals yourself or in collaboration with other players or writers who are needed but are not in the band. A player or singer can be found for any style or instrument.
What can the Rhythm Room do for you?
Tracking:
You'll have access to a wide selection of first rate microphones and preamps and to an engineer with experience recording a many instruments and styles. Your music will sound great!
Arranging and Playing:
If needed, you'll have access to someone who can contribute much to the success of your material. The experience of having written and arranged many songs, composed and arranged instrumental music, many years of playing in many styles on a number instruments and a Masters of Music in Composition and Theory can all be used to make your recording what you are working for.
Mixing:
Client must be present at mixing sessions.
Mixing is a complicated, fluid process. In this area, decisions about the mix are personal (or band) preferences; very few things are right or wrong. As a result, unless you as customer/recording musician are experienced in the recording process, several stages of revision could be required to arrive at a final mix. The amount of time is spent mixing depends on the size and complexity of the project. For the “demo” frame of mind this can be pretty quick. For the polished “album” frame of mind you must think in terms of “hours per song.”
It’s not usually a good idea to work all day on a project, then try to mix at 2:00am. Ears and brains get tired. Good decisions get difficult.
Burned rough mixes of songs in a project may be taken out of the studio only if the session is paid for at the time of completion.
Mastering:
This is a process for achieving overall cohesiveness and polish. It is the final stage for changes to EQ, compression, leveling, song order and spacing. On a “demo” project, this processing can certainly by done at the Rhythm Room, but on a “serious” album project this is a very critical step and should be done by someone who specializes in mastering. This “mastering engineer” will use a specialized space, specialized equipment, and can hear the project with fresh, different and specialized ears. It is an additional expense and should be planned for, but it is definitely worth it for getting the best sound for your hard work.
What is my function in your project?
Producer? Arranger? Engineer? Player? Singer?
What is the function of the studio in your project?
It's best to discuss the role of the studio early in the project for a couple of reasons.
1. This helps everyone know how to participate in the proceedings (for example, when to offer a suggestion and when keep quiet!).
2. The functions of the studio and its personel should be listed correctly in the credits on the finished ---product…this is what we do and people read that stuff!
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Producer
The producer is the person (or persons) who is responsible for getting the project to completion at the highest possible level of quality and efficiency – that’s about insight, decision and steering. That said, these are mostly collaborative efforts: producer, artist, engineer, writers. The producer often isn’t the boss, he’s hired because of what he knows by the artist or record Co. to make the best record possible, given a budget and timeline – and to know or learn what’s possible and what an artist is capable of. Getting this right also includes being honest about what an artist is not capable of. It’s about seeing strengths and limitation and working with them; using them – getting their best tracks.
-Who will be responsible for stuff? Or will outside opinions be sought in artistic decisions?
-To what degree? Will a part be here or there? What instrument? Is it in tune? Is this even working?
Is this pass good enough?
Lets try this!
-What instrumentation is envisioned?
-Will outside (“studio”) players be needed or is the band self-contained?
-Will studio personel be asked to play or sing on the recording?
-Will the studio be asked to provide any instruments? (You’re most accustomed to your own instruments, try or discuss your own equipment first.)
Arranger
The arranger puts music together…what style, who plays, what instrument, when, how fast, what rhythm, what about the intro/outro, where are the solos if any, vocal harmony if any, Ect...
Engineer
The engineer's job is to get performances to a track, use mikes properly and creatively to get “good” sounds (whatever that may mean, as discussed between artist and producer). At the Rhythm Room the job also probably means editing, mixing and mastering or assembling the finished tracks for mastering at a different location.
Musician
If you're bringing musicians into the studio or you're playing everything yourself, then you'll be ready to go. If you write but don't have a band, don't play or don't want to play on the songs, then musicians can be found to play anything you can dream up.
Other Stuff To think About...
If you’re a songwriter working alone, and the music is not to be performed by a self-contained band, it's often cheaper in the long run to spend the money up front on “really good” players with experience in the studio, rather than spending more money in editing and mixing where there tends to be lots of …cutting, pasting, moving and wishing this or that phrase was more solid (that’s call “damage control”). That said, many great recordings have been “one-man” efforts.
At the Rhythm Room a great deal can be done with computer with technology to enhance the music. However, tracks are usually better and often faster (think - less expensive) if someone is willing to say, “lets get someone who can to this better.” This business is about getting the best tracks possible with the best players available. DON’T DEPEND ON THE TECHNOLOGY; it is not a substitute for musicianship. Technology helps you make a record, it can do wonders and fix lots of stuff, but if you depend on it to make you a record, the record may be less than you imagine. Be rehearsed and have the clearest idea you can get of how a song goes.
If the project is a “band” project, the players are set and there will be no outside help, it will be tremendously beneficial to everyone if some time is spent recording in a more private setting (whatever space or equipment happens to be around will do) to see how the playing and the songs work. Unless you have a nice rehearsal recording setup, don’t try to see how the guitar or drums etc. “sound” on your recording, let that happen at the studio.
Prepare
-Be well rehearsed!
-Depending on what style of music is involved, its often helpful to have solos and harmony parts worked out in advance. It's not as spontaneous, but it saves time. You choose.
-Be sure you know and can discuss with the engineer what is to be accomplished at each session.
-Arrive ready to do things as planned (even though plans may change).
-Guitarists and bassists should have new strings on their instruments.
-A drummer should probably have new and broken in heads.
-Keyboard players should have a thorough knowledge of the MIDI protocol of their instrument so it can be more easily integrated into the system.
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You probably already know this, but…
BE REALISTIC or at least open to discussion. This process is usually lots of fun even though it is a lot of work. Some folks love this environment and thrive in it. Other people get very nervous or find it tedious. In the interest of having some fun, having a good session and making good music, try to think ahead about the things that could make a great day rough…
We're happy to work with whatever you bring, but...
-If a guitar or bass doesn’t really play in tune, fix it or don’t use it.
-If a keyboard doesn’t really feel right or make the sound you want, find one that does.
-If a drum set rattles of the kick pedal squeaks, fix it.
-Don’t expect to use a pickup from an acoustic guitar and get the best recording that instrument has to offer. It is extremely rare that a pickup sounds as good as a wooden guitar with a good microphone.
-After recording yourself at rehearsal, have a clear idea of where your songs are going stylistically.
-Don’t hope to sound like Jimi Hendrix or sing like Whitney Houston if you’ve been playing in the style of - -Merle Haggard or the Eagles all your life.
-If it's not up to the standard of a serious recording, keep rehearsing, people can tell the difference!

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