9 Recording Tips

Christopher Blood, head of Engineering, Production and Live Sound at McNally Smith College of Music, reminds students that schools are looking for “a good representation of who you are” rather than an overproduced recording.

The clarity of sound is what’s important and must not be impeded by technology or technical problems, points out Indiana University Jacobs School of Music.

Since music schools are often highly competitive, you’re wise to pay attention to the following:

1. “Have someone in the position of coach in the room with you when you make a pre-screen recording,” advises Doug Long at Interlochen Center for the Arts. This person may be your teacher, accompanist, or another individual familiar with  your repertoire, auditions, and the recording process.

2. According to PJ Woolston, former director of admission at USC Thornton School of Music, “A recording should, first and foremost, allow the faculty to evaluate the level and ability of the applicant. That means the recording should have good sound quality, and in the case where video is required (usually because faculty want to be able to see technique as well as hear the student), it should also look professional.”

3. Good mic’ing is very important. Robert Bullington, president of Front Row Seat Productions, emphasizes the importance of mic placement in order to attain a balanced sound. He urges students to “listen and re-record” if the voice, instrument, or piano accompaniment sounds unnaturally accentuated. “Never put the mic on a piano,” he adds. Instead, find a surface where the mic can be propped up on a tripod that allows the mic to be approximately at audience head level.

4. The room where you record will also make a difference in your sound. An uncluttered room with a number of objects in it (such as chairs, sofas, or a bed), rather than a kitchen or hallway with hard reflective surfaces that can create unwanted reverb and echo, works well.

5. The recording should be undertaken as professionally as possible. Treat it as if it were your live audition. You’ll probably be taken more seriously if you wear neat, pressed clothing, and dress more conservatively than you might normally do. Makeup and jewelry should be kept simple.

6. Hand-held video recorders can lead to shaky-looking videos. Do everything you can to prevent this, such as using a tripod. Music schools don’t like shaky videos!

7. Derek Brown founder of Acceptd, another audition upload company, says, “Replay and listen for any distortions, and re-record as many times as necessary to ensure a quality recording.” Give yourself enough time to make changes. The Northwestern University Bienen School of Music recommends playing your recording for several people before submitting it. According to their audition suggestions, “If one person thinks the quality is poor, it’s possible our faculty will feel that way, too.”

8. Can a recording be too slick? Schools answer with an emphatic “YES!” Don’t use audio effects to try to enhance your recording, says Ryan O’Mealey, former admission’s director at Northwestern’s Bienen School of Music and now head of enrollment at Cornish College of the Arts. You may end up having to resubmit your pre-screen if you do. Indiana University Jacobs School of Music specifies no reverb or electronic enhancement — they want to hear just your voice or instrument.

Schools have mechanisms in place to determine whether recordings are authentic. Brad Andrews, director of music admissions at University of Redlands Conservatory of Music, says, “We have heard auditions where there was significant doubt as to whether the audition was an authentic performance by the applicant. Although we will accept CD or DVD auditions, DVD is preferred to eliminate the possibility of editing or submitting a performance that is not your own.”

9. If you’re using a piano accompanist, make sure the piano is tuned well, and that you’re in synch with your accompanist. Rehearsing with the accompanist in advance of making the recording will serve you well.

 These guidelines also apply to recorded auditions for summer programs and music competitions.

What’s It Going to Cost?

Digital uploads: Typically $10 – $15 per audition upload. Some schools will actually cover this cost. Some audition upload companies will work with you if you cannot afford these fees.

Mailing your recording: You’ll save considerably if you mail your recordings a few weeks before the final deadlines. Compare the U.S. Postal Service (USPS) with Fed X ground and UPS. Spend a dollar or so more and get receipt confirmation if you go with USPS and track your package the way you can with other mailing services.

Recording Engineer: You could easily spend between $200 – $2,000 by hiring a recording engineer for approximately three hours of work on your video or CD audition. The cost varies, depending on whether you’re performing solo or with a full band (which requires more studio time), your geographic location, whether you’re recording a CD or DVD, how many pieces you need to record, and how much studio time you actually need. Some recording engineers offer a student discount, so be sure to ask. The better prepared you are with your repertoire and accompanist (if needed), and the more time you spend hashing out any details with your recording engineer before your session, the less it will cost.

Recording Devices: If family, friends, your high school or private teacher have a decent recording device that will give you good sound quality, you’re in luck. Otherwise, can you justify buying your own recording device as a professional investment that you can also use to record classes, rehearsals, and performances in music school? Or can you get your fellow students in your school band or orchestra to pitch in together to purchase one that you can all use?

If you’re buying a recorder, plan on spending anywhere from $250 – $1000, depending on what you need and can afford. According to John Knific of DecisionDesk, “There are hundreds of different recording devices out there on the market. One thing to keep in mind when choosing your device is whether or not the device records in mono or in stereo.  Humans hear in stereo, and devices that record in stereo are designed to mirror how humans can hear.”