How to record like a rock star: discover the mysteries of the mixing desk

What does it take to turn your music into a masterpiece? It’s simpler than it sounds, but also, according to Windmill Lane’s Tony Perrey, a little more complicated.

Windmill Lane? Isn’t that just for iconic rock gods?

Well, they certainly don’t turn them away. Case in point: Bruce Springsteen was a recent visitor, but anyone can book studio time. All famous acts started off as unknowns, and if you’re on your ownsome, they’ll even rustle up a set of session musicians – anything up to a full orchestra.

Sounds costly

According to Perrey, rates vary “depending on the amount of time booked and the type of session, but it costs in the hundreds to record here for a day”. Sessions can last from hours to months, and Perrey says that “regardless of genre, most singles that are of a professional standard take many days to complete”. For comparison, Wicklow’s Bay Studio quote €280 a day at baystudiowicklow.com, where you’ll also find a nice outline of what to expect, and how to get the most out of the process, while Cork’s Blackwater Studios quote €150 for a half day, see blackwaterstudios.ie.

And what do you get?

Again, it depends on what you need, but Perrey says the usual set-up for a band is three people: producer, engineer and assistant engineer. Those are the technical geniuses divining the mysteries of the mixing desk. These days that can be digital or analogue, and as the analogue desk in Windmill Lane Studio 1 has 144 inputs, you really do need someone who knows what they’re doing.

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Or do you?

Good point. Actually, each recording channel is identical, so once you’ve mastered one, you’ve got the hang of them all, but it takes a lot of training and experience to put everything together. “Just like a car,” says Perrey. “It can be driven expertly or poorly.”

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Which is best: digital or analogue?

Now there’s a question. Perry says their analogue desk “has a characteristic classy, warm sound”, but that “digital consoles provide greater accuracy, precision and audio processing”, adding that the quality of digital is “getting better all the time”.

If that’s the case, can’t I just do it at home?

You could. “There are great, inexpensive apps out there,” confirms Perrey. These range from GarageBand to Ableton Live, and Perrey points to Billy Eilish and Finneas, who have made amazing albums at home. “Of course they have great production skills,” he adds. Want to get some of them for yourself? Pulse College at Windmill Lane may have the course you’re looking for (pulsecollege.com), or try IADT, who have a joint programme with Sound Training College (iadt.ie, soundtraining.com).

So I need a studio because?

Because all creative people benefit from the right environment, which as Perrey rightly points out is as important – if not more important – than the technology. “We have to make sure that they are comfortable enough to let go and express themselves. If the song needs a confident, showy performance like Freddie Mercury, they need to be able to do that with us. Similarly, if the song is a love song that requires a delivery that sounds vulnerable, well, we need to give them the space and encouragement to do that too. As a producer, we have to know how far we can push them to get the very best performance they are capable of. It’s a fascinating process and thrilling too,” he concludes.

See windmilllanerecording.com, where you can also get a flavour of things by booking an hour-long studio tour, €22/€15 concessions.