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Part 5: Communicating Your Needs – Working with Engineers and Producers
One of the most important aspects of a successful recording session – especially as a first-timer – is communication. It might feel intimidating to speak up in a studio, but remember: this is your project, and the studio team is there to help you achieve your vision. Let’s talk about how to communicate effectively and kindly with the people helping you record.
Studio staff roles in a nutshell
In a local studio session, the main person you’ll interact with is the sound engineer (sometimes the studio owner or an assistant as well). If your remote producer isn’t physically present, the engineer is your right-hand person for the session. They handle the tech side – mic placement, levels, recording – and often they’ll be at the computer running the recording software. If your producer has given them notes, they will follow those; if not, you and the engineer form a mini-team to get the best takes. Sometimes studios also have a vocal producer or coach available, but unless you arranged that, it’s usually just you and the engineer.
Start with a friendly connection:
When you arrive, greet the engineer warmly, introduce yourself if you haven’t met, and share a bit about your song. You might say, “This song is a contemporary Christian worship track with a pop feel,” or “I’m a little nervous – it’s my first time in the studio.” Being open sets the tone that you’re willing to communicate. It also gives the engineer a cue about how to interact (if you’re nervous, a good engineer will be extra patient and encouraging).
During recording, give and receive feedback:
After a take, the engineer might say, “That was great, want to do another for safety?” or they might offer a small suggestion if they have experience (e.g., “You got a little louder on the chorus – I adjusted levels, but we can redo if you want a softer tone.”). Listen to their input; they’re in the control room hearing how it’s captured. At the same time, don’t be afraid to voice your own thoughts. If you felt you were pitchy on a line or your voice cracked, you can request, “Can I do one more take of the second verse? I think I can hit that better.” The engineer will almost always say yes – punching in or doing another take is routine.
Remember, you and the engineer are a team working toward the same goal. Open communication ensures you understand each other’s perspectives . You bring the artistic perspective (how you want it to sound emotionally and musically), and they bring the technical perspective (how to capture that sound). If something’s not clicking, talk it out.
Be clear and specific: Technical folks appreciate details. Instead of saying “Something sounds off in my headphones,” try to pinpoint it: “My vocals in the headphones sound a bit echoey – can we make it drier?” or “I’m having trouble catching the beat; could you turn the metronome up a bit?” The more specific you are, the quicker the engineer can adjust.
Headphone mix:
We touched on this, but it bears repeating. Speak up about your headphone mix. It’s common to adjust it throughout the session. Maybe you start with the music loud and your voice quiet to get energy, but later you want your voice louder to hear details. All fine – just let the engineer know. Your comfort = better performance. A good engineer expects to tweak the mix per the artist’s request .
Communicating with a remote producer:
If your producer is not in the room, you might feel a bit like you’re on your own. One way to handle this is to have a quick call or text with the producer right before the session to confirm any important details. For example, “Do you want me to record three-part harmony on the chorus or just a single backing vocal?” Clarify these so you can communicate them to the engineer. If the producer provided a recording roadmap (like which parts to focus on, any ad-libs needed, etc.), share that with the engineer at the start: “My producer wants a few takes of an ad-lib after the bridge; let’s not forget that at the end.”
Some producers like to “dial in” to the session via Zoom, Skype, or even a phone call on speaker. If your studio and producer are open to it, you can arrange to have the producer listen in real-time and give feedback. This can be technically tricky (latency issues) but even having them on a call between takes to listen to playbacks is doable. Work it out ahead of time if you want to try this, so you’re not fumbling with tech during studio time.
Expressing your artistic needs:
Let’s say you have a certain vision for the vocal – perhaps you want an intimate, breathy tone on the verse, or you plan to really belt out the bridge. Communicate that to the engineer so they can set the gear accordingly. For instance, if you’re going to belt loud, the engineer might lower the input level or use a compressor to avoid distortion. Mention any emotional or dynamic intentions: “In the final chorus, I’ll probably go all-out. We might do a couple takes building up to that.” This ensures the engineer isn’t caught off guard and has things technically prepared (like having enough “headroom” to capture your loud parts without clipping ).
Likewise, if something the engineer suggests doesn’t align with your vibe, kindly speak up. Example: If they say, “I can add some reverb in your headphones to make it sound like a big room,” but you find that distracting, it’s okay to say, “Actually, can we keep it dry? I perform better without effects on my voice.” These preferences are normal – some singers love reverb in their monitor, some hate it.
Ask questions if you’re unsure:
Studios have their own jargon and processes. If the engineer says, “We’ll punch in at the second hook,” and you’re not sure what that means, just ask. “Sorry, by punch in, do you mean start recording from that second chorus line?” Nobody expects you to know all the lingo on day one. It’s much better to ask and be on the same page than to pretend and then get confused. Good studio folks will explain in plain language if you prompt them. Over time, you’ll learn terms like take, comp, punch, track, mix, master, etc., but there’s zero shame in clarifying.
Respect and positivity:
The Bible says, “Let your speech always be gracious” (Colossians 4:6), which is a great principle here. Studios can be high-pressure, but keeping a gracious attitude will make everyone feel at ease. If you disagree with a suggestion, you can do so politely: “I hear you. My gut feeling is to try it once more my way, and if it doesn’t work, we’ll go with your plan – is that okay?” Most likely, they’ll appreciate your dedication. Conversely, if the engineer guides you and you find it helpful, acknowledge it: “Thanks for that tip – it helped.” A little kindness goes a long way in building a good working relationship.
Handling mistakes or frustrations:
Despite best efforts, you might hit a section that is giving you trouble, or you may feel the engineer doesn’t understand what you want. Rather than stewing in frustration, pause. Suggest a short break: “Can I take a minute to clear my head?” Step out, drink water, and pray if you need to. During that pause, consider what exactly is bothering you. Then address it calmly. For example, “I feel like I’m not nailing that run at the end. Maybe we can record it separately a few times?” or “The keyboard in the instrumental is throwing off my timing; can we mute it temporarily while I record this part?” Many small adjustments can solve problems – muting a distracting instrument, adjusting the tempo in your headphones, or even changing the lighting in the booth if it’s affecting your mood! Speak about the issue and the possible solution. The team will likely be willing to try.
Engineer’s perspective:
It might help to remember the engineer’s point of view. They are juggling software, hardware, and keeping an ear on pitch and noise – and they can’t read minds. If you don’t say anything, they might assume you’re satisfied. Most engineers really appreciate a communicative artist because it takes the guesswork out of the process. Also, if they explain something technical and you don’t get it, asking shows them you care about the outcome. It turns the session into a collaboration instead of two people in separate bubbles. Good communication can even increase efficiency, avoiding misunderstandings that waste time.
One note related to Christian values and comfort: If at any point you feel the engineer or anyone is not respecting you or making you uncomfortable (for instance, using language you find offensive or dismissing your input), you have the right to address it or even halt the session. This is uncommon in professional settings, but it’s worth stating – you deserve respect. Communication isn’t just about creative and technical aspects, but also interpersonal. Hopefully, you’ll never have an issue, especially if you chose a studio aligned with your values (as we’ll discuss in Part 6). Most engineers are courteous and accustomed to working with different personalities.
Summary of things to communicate clearly:
The sound you want (emotional tone, power, etc.)
Any special requests (specific effects in headphones, certain parts to focus on)
Discomfort or issues (headphone mix, needing a break, unclear instructions)
Confirmation of what was recorded (“Did we get that harmony on track?”)
Appreciation and concerns in a polite manner.
Takeaway:
Communication is key to capturing your best performance. Don’t let studio intimidation silence you. Effective communication with your engineer can prevent conflicts and result in a recording you’re truly happy with. Being open about your needs and listening to their expertise will bridge the gap between the artistic and technical sides of recording. Ultimately, your song will benefit from this teamwork, and you’ll gain confidence for future sessions. Remember, you’re all working towards the same goal: glorifying the music (and for you, glorifying God through that music).
