MP3 was the first successful audio-compression format that provided acceptable quality at about one tenth the size of a WAV or AIF file. It employs lossy compression, which permanently discards data that it deems audibly indiscernible to human ears. Unlike Zip compression, which restores a file to its original uncompressed state, data that undergoes lossy compression is irretrievably lost. But the sound quality in the MP3 compression scheme is quite good, and the savings in disk space and download time have made it a hit with the Web crowd.
What should you consider when choosing a place to record? First of all, you should ask for a copy of something that was recorded at the studio. Listen to the overall sonic quality of the recording. If you have the capability, try to A-B compare the recording to some professional recording that you want to sound like. To truly A-B compare, you will need some way to play two CDs at a time, and then switch back and forth between the studio demo and the professional recording. This will allow you to compare the two in real time. That way you can hear the differences much more easily than if you rely on your memory.
You need to know whether a prospective studio provides an engineer. If so, find out how much experience the studio engineer has, and more importantly, how much experience he has with that particular recording equipment or facility. This can be a huge factor in how long it takes to complete your recording, and in the overall sound. The more experience the engineer has, the less time it will take to make your recording and get a final mix.
Once you have decided on a studio, an engineer, and a producer, it boils down to money. You need to ask some very important questions to get the most for your money and negotiate a better price. (This information can also help the studio owner understand how to prevent any miscommunications with his clients.)
If you are like most people, you are working within some kind of a budget. You need to get as much information as you can from a prospective studio so you can negotiate the best price, and so there will be no financial surprises when you get the bill.
If you submit your material to a major publisher or record label without them requesting you to do so, you’ll probably receive your material back with a huge stamp on it that says “RETURN UNSOLICITED.” The reasons for these companies not accepting material from unknown outside sources are many. I will discuss three of the main ones here.
If you have decided to take a proactive approach and make your own CD or demo, you will definitely want to read this. Making a demonstration recording or a full-blown master recording will involve a number of important issues. After all, this recording can make or break your career, so you shouldn't take it lightly. Also, making good-sounding recordings isn't as easy as it looks, much less as easy as it sounds.
“Good quality demo” can have multiple meanings. Some people refer this way to high quality sound, exceptional engineering and perfect mix. Others mean a unique song that has a high potential of becoming a hit. Considering that most musicians record a demo with a purpose of getting a record deal, we must understand what record companies think of this matter.