by Bob Rose

Recording can be looked at two ways, 1) as a medium to store and reproduce sound or, 2) as a medium unto itself that not only stores and reproduces but can offer almost any alteration to the sound quality, therefore being its own art form. But one thing common to both is the final quality of your performance is on there.

Tape recording, whether analog or digital, is where the sound ends up. After that there are many black boxes either to correct, simulate or enhance, creating special effects or totally changing the original sound.

But apart from what is known as "state of the art" (which changes almost daily) most recording studios ­ let alone consumers such as most of us ­ have little access to this equipment.

However such things as DATs and new recording/processing computer programs have been brought down to a cost the average person can afford, which has made the game much more interesting. Especially when you look back at Bruce Springsteen doing one of his earlier albums on a Tascam Portastudio 144 years ago.

In fact, a lot of masters are virtually made at home studios on anything from real to virtual tracks. But that is only the beginning. You must know what to do to perform, record, mix and edit the sound to its maximum.

Remember the old saying, "$10,000 worth of equipment and 10¢ worth of talent." Learning what to do with it to get the best out of it has always been the big problem.

Schools have sprouted up from most any commercial studio not working enough to want to assure some additional income. But the problem remains ­ being a studio does not by any means make it a school or its engineers teachers. Still these "schools" open their doors by the dozen.

You could buy a book or two, as there are some good ones on the market, but without some feedback your questions will go unanswered in critical areas including how the information in a book may apply to your situation.

But let's look at the main point­ recording, like any art, has its basics and you can learn how to make a good recordings that people will listen to and not cringe (maybe even praise) by simply learning some basic ground rules.

Be prepared with the best

(A) Material (songs)

(B) Performance

(C) Personnel available

After all, remember you're competing with the best in your field. Don't fool yourself if you're neglecting an area ­ that's part of what will hold you back.

You may be able to squint your ears a little but only a handful of friends and family will join you.

Pros need the best just to compete and won't settle for any less.

From music to vocals you must have both in place or you'll always be wondering what's holding you up.