I have worked for years in a commercial recording studio, and have observed all kinds of artists create their masterpieces, pay their tolls, and then leave. Some of these songs made deep impressions in my mind, and even many years later I can recall those pieces as if they were recorded yesterday. Others songs rapidly blurred away into obscurity. I ask you--what do you think the difference is between the two?

I say Attitude.

Today's listeners have both precision and perfection deeply engrained into every bit of sound that enters their ears. Doing a complex technical performance really is status quo these days. It's no big deal. Having perfect aural qualities of every instrument is standard operating procedure as well. What then, sets one song apart from another? Well (of course) you need a well-constructed and likeable song, but the point that I am talking about here is how the song is performed in the studio. When everything just clicks and everyone is right on top of his or her game, when you just cannot believe how great everything sounds, there is a sublime element present; many call it the song's music. It is that unexplainable great thing that is happening in the sound, song, and musicians.

The studio in kind of like a blank canvas on which we will paint our resonance; rightfully so, it was virtual reality before V/R exploded onto our computers. Separated by the push of a few buttons, the sound environment within the same four walls can be a raucous live performance, and then instantly become a soft and intimate presentation. Surely different studios will have slightly different offerings, but one thing remains constant: no matter how many tracks you put down on a song, and how many "takes" you record in order to achieve your perfection, the listener will be able to perceive the magic in your music (if that is what you convey when you lay down your song).

So how do you get your attitude aligned for a stellar performance? Well there are a number of things that you should do. If your band doesn't have rules, then it should consider at least these few basic ground rules. Studio time is expensive, and although it may be a labor of love, it is stressful and

often times physically exhausting. To make the best of your time in the studio consider these guidelines: No altered states in the studio. Period. This includes alcohol. This doesn't mean drink a six pack and then come into the studio without. It means come into the studio more energetic and prepared than you've ever been for any other job you've ever worked at. It also means do not come sleep deprived. This is your time to shine as brightly as you can. Want to hear that again? This is your time to shine as brightly as you can. This is your time to reach a level of precision and perfection in your song like never before. Always try to remember that people will be able to perceive the magic. No excessive aural exploration. If you want a certain sound and you need to come in and spend the time to find it, it should be before the other band members arrive. Like wise with the drums, it can take an hour or more to get the drum sound that you are looking for. Energy levels dwindle as all other band members are placed "on hold” while technician bands on a snare for (seemingly) forever. Know what sound you want before you arrive. If you can achieve the sound you want via a stomp box and and an amp, fantastic. Bring your set-up in and have it miked. Nothing simpler. Have Fun. The most important rule in the studio is to have fun. People can truly hear the difference. "Crabby" artists can signal process all day looking for the sound of a happy productive band. They will not find it in a circuit board.

Whatever it is, that thing that transpires in the music, has not been synthesized, sampled, or virtualized yet. It is magic, and it is in your sound.

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