studio documentation 1

8/16/2019 Studio Documentation 1

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RECO RDIN G FEBRUARY 2001

St udio Document at ion,St udio Document at ion,B Y A L E X CA S EPar t 1 —The Tr ack Sh eet

the next t wo columns we'll look at ways to docu-ment every deta il of each studio project . Ta ke

sheet s, se tup sheets , and reca l l sheets are a l l usefu l par tsof the well-documented studio, and w e'll get to thosenext month. This month we begin wit h the b est-known ofa l l s tudio documents , the track sheet.

Ident i f ying t racks

The track sheet 's most obvious and vi t a l f unc t ion :identi fy ing wha t 's been recorded on which track s .What's on track 1? " Hi-hat . " What 's on tra ck 19?" Ba ck groun d voca l #3—Low Pa r t . " This label ing must bedone so meticu lous ly tha t to seean empty space on a tra ck sheetis to know wit h 100% certa intyth a t i t i s a b l an k t r a ck ava il ab lefor re cord in g .

Then th ere is other info r m a-t ion tha t b elongs on a tra cksheet , most ly fa i r ly obvi o u si tems tha t never theless some-

t imes are omit t ed . What good isi t to k n ow th a t t r a ck 1 conta insthe h i-hat when you can ' t te l l what the song is? So s tar tf i l l ing in your tra ck sheet by wri t ing down t he songt it le . Do n 't l e ave i t a t th a t— l is t th e a r t i s t , produc er,e n g in e e r, and ass istan t engineer. On t he o f f-chance tha tth e t r ack sheet ge t s separa ted f rom the mult it ra cktap e—something t ha t should never ha ppen—all t h isin format ion wi l l come in handy .

I f you are the s tudio, the engineer, the producer, a nd/orthe ar t is t , put a phone number, em a i l address, o r both o nevery single document having anyt hing at a ll to do withthe project . Ma ke it easy for anyone who f inds the docu-ment to f ind you.

You can buy blank t ape for $X. But once you s tar tputt ing music and s tudio t ime on tape , tha t ta pe quickly

becomes nea rly priceless, litera lly and f igura t ively. Byincluding all of this informa tion you minimize the cha nceof losing your investment .

A ll t h i s is i m p or t a n t , b u t t h e p o i nt o f t h i s a r t i c l e i sth e n o t -so -ap p a ren t in fo rm a t io n th a t sh o u ld bein c lu ded o n e ac h an d eve ry t r a c k sh ee t . O f c o u rs e ,n o t e v e r y p r o j e ct i s r e c o r d e d o n t a p e , l e t a l o n e a n a -l o g t a p e , a n d d i g i t a l a u d i o w o r k st a t i o n s t a k e c a r e o fa l o t o f t h e h o u se k e ep i n g f o r y o u . B u t t h e c e n t r a lc o n c ep ts sh ou ld be o bv io u s en o u gh th a t y o u c ana p p l y t h e m t o o t h e r m e d i a .

How fast was I going,Officer?

I t i s essentia l tha t the p lay-back speed o f the tape be c lear-ly in d ica ted . Can y o u ac tu a l l yp lay bac k a t ap e a t th e wro n gspeed? Yep. Does i t rea l ly everhappen? You bet cha .

O n an a lo g m ac h i n e s , t h a tm ean s n o t in g th e sp eed ini n ches per second (ips) . Ty p i c a l

speed s a re 7-1/2 ips, 15 ips, a n d30 ip s . G e n e r a l l y sp eak in g , t h e

f a s te r t a p e sp eeds le ad to in creased dy n am ic r a n g e .B u t ro l l in g t a p e a t f a s te r sp eeds a l so le ads to h igh erta pe cos ts—each t ick up in speed wi l l double yo u rt ap e c os ts . I f th e p ro ject i s on a t i gh t b u dge t o r i f th eban d i s lo ng-win ded a n d a im in g fo r a do u b le a lbu m ,th i s c an be a b ig d ea l . Yo u m ak e th i s dec i s io n be fo reth e f i r s t s e s sio n , an d th en y o u do c u m en t i t o n eve ryt ra ck sheet .

Th e re is a s imilar param eter on dig i ta l ta pe a nd h arddisk record ers : sample ra t e , w hich must be noted ( inkH z ). Most common a re 44.1 kHz, 48 kHz, and incre a s-i n g ly 96 kHz. As wi th tape speed, h igher sample ra t es

a rg u ably lead to bet t er sounding master record ings. B utthe h igher sa mple ra tes re q ui re more ta pe or hard d isk

In

th e po in t o f th is article

is the n o t-so -appar en t

in fo rm atio n th at sh o u ld be

in clud ed o n each

an d every track s h eet.


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space to s tore the increased da t a .The ma chine will usually know ato n ce wh a t t h e s am p le r a te i s, butyou don’t—so if you need to matchra tes f rom tape t o tape (or d isk to

d i sk ), w r i t e i t d ow n.

Are you my master?

Note on Figure 1 tha t the ta pema chine used is identif ied (justabove the sa mple rat e). I can ’toverempha size this point: alway s,a lways note the make and modelnumber of the machine tha t crea tesa ny ma ster t ape—be it 24-tra ck , 8-tra ck , or even 2-tra ck . This not onlyidenti f ies the format (um, i t won’t f i tin an ADAT-ty pe ma chine), i t a ls oidentif ies the specif ic model numb er.

In a per fec t world this wouldn’ t benecessa ry. All tapes played on allcompatible tape machines wouldperform without a h i tch. B a d n ew s:it ’s not e xa ct ly a per fec t world .Sometimes a tape recorded on onema chine won’t play back on anotherma chine wit hout glitches. I f youkeep track of the type of machineused , you can lower the odds tha tthis problem will ha unt you.

When the ta pe won’t play on Bob’sma ch ine, i t may be because i t i s ad if f erent model . F ind , rent , o r b o r-row a machine o f the same make andmodel originally used during t rack -ing and the ta pe might p lay ba ckagain wi thout errors and drop outs.Sometimes the only solution is to goba ck to the original record ingma chine i tsel f . In th is case , ma ke asafety copy onto a dif ferent machineas soon as you can . And be thankfu lyour track sheet ident if ied thesource machine.

In the ana log ta pe machine world ,identifying t he source machine is

C an yo u actua lly

play ba ck a tape at

th e w ron g speed ?

Yep. D o es it

really ever h appen ?

You betcha.


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RECO RDING FEBRUARY 2001

a rgua bly even more important .Ana log ta pes will play back f ine onmost a ny type o f machine. The dra-matic muting on and o f f and the s ig-na t ure ‘zipper’ noise t hat only digital

re cordings gone wrong can ma kewon’t d og your ana log project .

But analog recordings genera llysound best w hen played back on thesame type of machine that did therecording. Mastering studios oftenhave several different makes of analog

tape machines for this rea son. Theycan match the same ma ke and model

you used t o get the b est sound offta pe possible. Or the mastering engi-neer can resort to a dif ferent ta pema chine on purpose (not b y a ccident)to find a different sound. As you can

see, noting the ta pe machine used is agood idea .

Fig u re 1


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RECO RDING FEBRUARY 2001

How ’bout a date?

Note the da te o f the f i rs t t ra ck ingon the track sheet. As you get intooverdubs la ter, ca pt ure the da te o fthose individual tracks too . H a vingthe da te can help you hunt down andidentify prob lems. Mon th s a f te rmaking these record ings, y ou w i llstart m ixing them. You may notice atmixdown tha t t he acoust ic gu itarsounds brighter in one song tha n ina nother. A little investigat ion revea lstha t the s tr ings were brand new onone song, and tw o days o f heavyplaying older on a nother.

This is an i mportant observat ion.When you sta rt mixing a third song,you can g lance a t t he da te o f theacoustic guitar overdub and know before listening w hether you ha ve abr ight or dul l tone to s tar t w i th .

The da te of ea ch track can answera range o f o ther, s imilar ques t ions :

For a given piano tra ck ,h ow longhad it b een since the piano was tuned?

Was t his ba cking vocal cut beforeor a f ter she had her cold?

Was tha t t rack recorded before ora f ter we c leaned the heads on themu lt it ra ck ?

The da te s essentia lly provide a nau d i t t r a i l, sho u ld y o u wan t toa n swer some o f t hese k inds o f q ues-tions a s sonic peculia rities unfo ld . I tis quite possible you’ll never needt h e d a t e s. K e ep t r ack of them justin c a se. So m e p rob lem s a re da rn

subtle and might go unnoticed for

da ys, w eeks, o r ev en m o nt h s. Butonce you discover tha t t he peda l onthe k ick drum has developed a fa in tbut powerf u l ly annoying squ eak ,you ’ ll want to f igure out when inthe course o f the projec t th is s tar t-ed , wh a t son gs m igh t n eed f ix in g ,and w hich ones are sa fe .

Signal path

As you can see from the hiero-g lyphs on Figu re O n e, we sq u eezes t i l l more in formation onto t het ra c k sh eet . Id e a l ly, t ry to descr ibethe se t t ings of ea ch piece o f gear inthe s ignal pa th .

The Le a d Vocal on Tra ck 24 offersa good exa mple. This part icular over-dub wa s recorded through a n AKG414 in cardio id pa t tern , wi thout apa d , an d w i th ou t a roll-of f. Themicrophone pream p settings andcompressor settings are shown too.G ra nted , i t i s shown in a very abbre -via ted form, bu t i t t e ll s m e wh a t Ineed to know. Develop your owndeta i led code.

I f e q h a d b e e n u s e d, I ’d t u r n t h et r a ck sh ee t o ver an d m ak e n o test h e re to o. Sh o u ld we h ave to re -t ra ck par t o f the vo c a l — w h i chcould eas i ly happen : the songwri terc h an ges a l in e , th e s in ger wan ts toc h an ge th e p h ra s i n g , a p rev i o u s l yunnoticed mis take now seemsu n b e a r ab le an d m u s t be f ix ed—we’ l l be ab le to m a tc h th e so u n d

p re t ty c lose ly an d re c o rd an ychanges we wish . The ent ire s igna lp a t h h a s b e e n d o c um e n t e d . M a t c hth o se se t t in gs o n th e eq u ip m en t ,l e t th e s in ger do a f ew t a k es tom a t ch h is or her ear l ier per fo r-m a n c e , an d y o u a re re a dy to re -re c o rd an y o r a l l o f th e vo ca l t r a ck .

As you can see, for this session Ia lways documented the vocal tracksfully. That is stan dard operating proce-dure; the vocal tra cks a re importa ntenough to demand it. The tamb ourinetrack, on the other hand, only indi-cates the mic and da te. I ’m not rea llyworried that I’ll have to modify apiece of this track. Noting the micreminds me of what sort of sound wewere going for, and I can get c loseenough to that sound again if need be.

The elect ric guita r (noted E G T ont ra ck 10) needs a fuller description.The guita rist brought in mayb e halfa dozen guitars, an d two am p s.Moreover, the s tudio has f ive gui tarsand t hree other amps. The tracksheet therefore notes the gui tar, thea mp, the microphones, an d an y sig -nal processing going on.

Of course, gui tar ists do a lo t toshape their sound through the vari-ous tone a nd pick-up sett ings on theinst rument , as wel l as the many se t-t ings on the amp and a ny s tomp

boxes being used. This gets tricky.Most guita rists I ’ve had t he pleasureof working with ha ve given a lot ofthought to t heir tone. They ’vemapped out all these settings forea ch and every song they tra ck . Theycan dia l them up consistently with-out wri t ing them down. I n t hi s c a se , Ile t them keep track of their sett ingson the guitar r ig menta l ly, and theassistant a nd I make notes of our set-tings in the studio ma nua lly.

Less experienced guita rists mightneed you to capt ure their settings

too. This can slow dow n a session sig-nif ica nt ly, especia lly if you don ’t

Table 1:Some suggested abbreviations (make up and use your own):

Kick Drum--------------------K Snare Drum----------------------------Sn

Hi-Hat--------------------------HH DrumOverhead Microphones------O/H

Rack Tom1 ------------------R1 Rack Tom2----------------------------R2

Floor Tom----------------------Fl Acoustic Guitar ------------------------AGT

Electric Guitar ----------------EGT Piano------------------------------------PNO

Tambourine ------------------Tambo Lead Vocal------------------------------LV

Background Vocals----------BGV Double----------------------------------DBL

Do Not Use--------------------DNU Do Not Erase--------------------------DNE

To Be Erased------------------TBE Serve Pickles Often ------------------SPO

In n o tim e yo u’ll have s ix tracks

d ed ica ted to th e gu itar s o lo,

an d a d o zen tracks fo r a ltern ative,

po ssible, ‘I th in k s o’lead vo cal tracks.


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have an a ssista n t engineer. In thesesit ua t ions, I encourage the gui tar istto work with the guita r tone controlsset to wide open (turned a ll the wayup so that t he tone controls aren’t

shaping t he signal) . This typicallyleads to a bet ter t one anyw a y, a n d i t

is eas ier to repeat a t a la t er da te .The va rious sett ings on the a mp

a re manua lly transcribed onto asheet of pape r. This sort of note t ak-ing in a session will be discussed in

deta i l next month . But be fore -war ned: i t is often necessary to w rite

down the se t t ings o f gu i tar a mps ,compressors, eq ua lize rs, etc. Thesenotes are ta ken on a specialized stu-dio document called a recall sheet.This enab les you to, you guessed it ,

recall any studio setting tha t youmay have recorded .

Fig u re 2


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On the track sheet we ’ve noted agood deal of information about t heproject and ea ch individual trackre corded . When there isn’t room t odocument the entire signal pat h for a

given track , we tu rn th e t ra ck sheetover or rea ch for recall sheets . In thisway, we have the paper-based supportinformation needed for every bit ofaud io we are putting on ta pe or disk.

For the session shown in Figure One,each drum track has recall sheets asso-ciated w ith it documenting the settingsof the equipment we used tha t day

during basics. So in the end, the tracksheet only shows settings for selectoverdubs. There are pages and pages ofnotes (not shown here of course) asso-ciated with the other tracks.

A good tra ck sheet present s thisinformation clearly. Try not only towri te nea t ly, but a lso to work visual-ly. I use symbols and abb revia t ionsw herever possible t o make the d ocu-ment ea sier to rea d . B y th e en d ofthe project , it ’s going to be a crowd -ed piece of paper—Figure 1 makesth is abunda nt ly clear.

But for the engineer, the producer,and a nyone else who works with us,the document communicates a lot ofinformation in a l i tt le space. Tabl e 1highlights some of th e commonabbrevia t ions I use . Ma ny engineersdoodle cartoon-like pictures for cer-ta in instruments . Create your ownsyst em. Jus t make sure you can rea dit in low light a nd w rite i t q uicklyduring more frenzied sessions.

Don’t f ear erasure

During an overdub session , i t i spretty common to record mult iplet a kes o f the same pa r t . EGT Solo,t a ke one. Sounds grea t . Save it ontra ck 11 and do a nother ta ke ont ra ck 12. Ta ke two is jus t okay . Era sei t by recording over it . R ecord ana dditional take over again on track12. The next take onto tra ck 13, thent ra ck 14. On and on it goes untileveryone is satisf ied tha t they havethe killer ta ke of the universe.

Save the good ta kes and w ipe (i.e .erase and record over) t he so-so

yo u’re n o w talkin g

abou t d ozens—

or h un d red s!—

o f takes ...


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t a ke s. This process is often a n effe c-t ive way t o capture a guita rist ’s bestsolo. The reason this is important istha t un like live performa nces, w hichdisappea r as soon as they occur, a

re corded performance must stand upto repeated p laying. I t i s essentia l tothe success of the recording that l is-t eners continue to enjoy t he soloeven a f ter they ’ve heard i t on theradio 17 times. And the psycho-loyalfans are go ing to copy, tra nscribe,and cr i t ique t he performance noteby note , s tr ing bend by s tr ing bend.

Collecting takes onto dif ferentt ra cks is a decent approa ch . You caneven edit together the best pa rts ofvariou s takes into a single me ta -solo.H owever—and this is very, veryimportant —the process is a tota l fa il-ure if you don’t t ake th e necessarysecond step.

Ste p Two: a fte r you select the keep-er take, get rid of the others. Filling upthe mult itrack with ‘safety solos’ thatyou are afra id to erase will come ba ckto haunt you. In no time you’ll have sixtracks dedicated t o the guitar solo, anda dozen tracks for a lternative,p ossib le,‘I think so’ lead vocal tra cks.

This doesn’t lea ve room for t heother elements of the a rrangement .The fea tured pe rformer, the engineer,the ba nd, a nd/or the producer shouldcommit to the ta ke as soon as possi-

ble. I recommend designating thefavorite solo right th ere at t he over-dub session. At my most generous, Imight let the ba nd think about i t andlisten to it overnight . But the next ses-sion begins with a designation of thekeeper track , and all the others getlabeled TBE (“ to be era sed” ).

I t is pretty common during a pro-

ject to invit e/hire a special guest tosing or play a cross a number of t uneson the a lbum. You’ve got may beeleven dif ferent songs. In the courseof th is overdub session the guest ta l-ent f l ies from one song to t he next .“ Nice take, let ’s try tha t sort of thingon the other ba l lad . ” You’ve got tozip to t he next song, pull-up a grea tsounding rough mix in the controlro om, dia l up a terr i f ic sounding mixin the headphones, and prepa re tore cord the dub onto a f ree track .

Tha t ’s a lo t to d o a l l a t once . Thet ra ck sheet n eeds t o commun ica t ecl e a rly exa ct ly where a l l the track s

Media The track sheet—and all studio documents, for that matter—works best when it is recorded by

hand, in pencil. It is tempting, in this age of slick computer graphics, to transcribe your track sheetsinto some sort of computer generated format. After a session, you kindly take the track sheets intothe office and type them into the computer. Nifty. Cut and paste some graphics, select a cool font,and the print outs will look slick.

Please, don’t do it! The track sheet is a living document. At any point in the project, from the basics

session to the mastering session, the track sheet should welcome creative and free thinking. If themusic suggests you should erase the cello and track a triangle, then do it. If you’ve gone to the trou-ble to type all the tracks into the computer, you’ll hesitate an extra bit. Replacing the cello with a tri-angle means that tonight, after the session, you’ll have to type in the change and print out a new one. That’s a chore. And it just isn’t necessary. Moreover, if it diminishes, in any way whatsoever,

the creative energy of the project, then it is a mistake. The manual track sheet system is the pre-ferred approach.

In addition, a good track sheet has little scribbles and notes that, though meaningful to the engi-neer, may not seem important to the assistant transferring it into the computer. In computerizing it,some of that information is inevitably lost. Stick with hand written track sheets.

Some people, though talked out of using a computer for keeping track sheets, make a worse mis-take: they use ink. Ink doesn’t erase. Tape does. Use pencil. We record on tape or hard disk becauseit’s easy to erase and record new ideas. Erasing and re-recording is an everyday part of modern mul-titrack music production. The track sheet should follow. Consider it law: track sheets (and all studio doc-

uments) should be done in pencil. Pens and laserjets are too permanent. They are strictly forbidden.

...an d even if yo u d o n’t have to erase

th em to m ake ro o m o n you r d isk, you’d

d arn ed w ell better h ave a go o d w ay to

kn o w w h ich are th e keepers, an d fast.

Excerpted fromthe February edition of RECORDINGmagazine.©2001 MusicMaker Publications, Inc. Reprinted with permission.

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o f au d io a re , w hi ch tra cks t o use,w hi c h n ot to u se , wh a t c an beera sed , a n d s o o n.

I t is wise to allocate t racks as con-sistently a s possible a cross a pr ojectso th a t , f o r ex am p le , th e sn a re i sa lways on track three and the leadvocal on tra ck 24.Allocate the m orevar iable musica l e lements to o thertracks . Not every song has p iano .Some use c lavinet , some jus t usegu it a r , e tc .

Good habits laying out the tracksheet consistently from song t o song

reduce the effort associated w itha dvancing to the next song for thenext overdub. With maybe drums,ba ss, and rhy thm guitar a lrea dy setup and sounding balanced for controlroom a nd headp hone monitoring, youcan twea k the didgereedoo and t rom-bone as req uired for this particularsong and get on with t he overdub.

And a l l o f t h is goes double fo rthose n i f ty modern hard d iskre c o rd e rs tha t le t you save gazi l-l ions o f ta kes per f ina l t ra ck ! Somem a n u f act u re rs , l i k e R o l a n d , p r ovi d e

y o u w i th a c e r ta in n u m ber o f a l te r -n a te t a k es p er t r ack ; o thers , l i keA k a i , o f f e r a g e ne r a l ized pool ofava i l ab le ed i t s an d a l te rn a t e t r a ck s .E i th e r way, y o u ’ r e n o w ta lk in gabout dozens—or hun d r e d s ! — o ft a k e s, an d even i f y o u do n’ t h ave to

e rase them to make room on yo urd i s k , y o u’d da rn ed we l l be t te r h avea go od way to k n o w wh ich a re t h ek e e p e rs , an d f a st .

P ush the decision makers todecide. I f you are the producer or ifit ’s your music, step u p to th e pla te .But even if you are just acting in a n

Clea r note s like TBE commu nica teex a ct ly which tracks can be nuked ifnecessa ry to accommodate a dd it ion-al overdubs. The session losesmomentum if you have to pa use theoverdub session and look for anava ilab le t r a ck . “ U m m , i t s ays h ere,

‘t a mb o, t a ke 3.’ I th ink we ’re goingwith ta ke 2 . Ha ng on a minute whi lethe producer and I l isten to a ll f ivetambourine par ts and f igure outw hich one we ca n era se. O h ! You’resounding grea t . Love th e energy intha t la st ta ke. G ive us five or tenminutes and we’ll do anothe r.”

G o o d h ab its layin g o u t th e trac k sh eet

co n sistently fro m so n g to so n g red uce

th e effo rt asso ciated w ith ad van cin g to

th e next so n g for th e next o verd ub .


9/9

engineering capa city , help the ses-sion by coaxing these sorts of com-mitments out of th e key players.Hedging your crea t ive bets by a rchiv -ing countless mediocre t akes w ill

need lessly increase the studio time(a budget brea ker) at the very least.

Worse, and more l ikely , i t wi l l robthe project of i ts crea t ive and perfor-mance edge . Sa fe a lbums don ’t usu-a lly sell.

Next month w e discuss the rest ofthe studio d ocuments: ta ke sheets ,se tup sheets , and reca l l sheets . G oodstudio documents are a session toolyou can have wi thout par t ing wi thtoo much money. Sure it w ould bemore fun to buy another microphoneor compressor, but i t ’ s worth the

ef fort to develop and use these docu-ments thoughtfully.

A lex Case doesn’t stop at stu di o doc-

ument s.You shoul d see his grocery li st.

Send questions and suggesti ons to

case@recor d i ngmag.com

Home Made Document sIf you’ve got a printer andsome graphicsskills, by all meansgo ahead andcreateyour own studio documents. You’ll need

a track sheet—maybe both an eight-track anda twenty-four-track version, maybe others. You’ll also needa takesheet suit-ablefor any type of session, liveto twoor multitrack. You’ll want a setupsheet that outlines thebasicstudio setupfor anysession you might encounter. You’ll create recall sheetsfor every pieceof you own so you can document their use in any appli-cation. And—myfavorite—design a professional looking invoice. That’s theitemized list of expensesfor a session (studiotime, engineering time, tape costs, shipping, special gear rental, meals, limos, etc.). The cool part of theinvoice it thepart atthe bottomthat says, “Pleasepay $X,XXX dollars. Make checkspayable to theorder of, “Me, the engineer.”

In creating these documents, you’ll naturally want to give thema professional look that supports your image and rep-

utation. You’ll give thema consistent, integratedlook, usingthe same font for example. Go to town. But here are someother things to consider:

Space

Leave adequate space where required for the document to work. A large logo might look cool now, but it won’t leaveroomfor the engineer to write all the information legibly. On a track sheet, the space for the tracksshouldbe as largeas conveniently fits. I’veseen track sheets where the number in each track space was so largeI couldn’t write the words,“Lead Vocal.” When blank, the track sheet should be mostly open space for notes. When used, the document should wel-come, even inspire, clear note taking. In addition to the tracks themselves, I leave roomto write particularly importantitemslike thename of the artist and the song titles in larger print.

For eight-track projects, I use a separate track sheet that leaves even more roomfor all kinds of notes (seeFigure Two). This month’s article discussedthe wealth of information that must be recorded on the track sheet. As the attachedEight- Track Sheet shows, even more is documented when possible. Scribble cues off to one sideof the page during thecourse of the first playback of the songso that you can instantly find verse four when asked. Note when the harmony

vocal is singing (e.g. chorusesonly). Note the times of problematicspots to go back and check. I think I heard a flubbednoteon the AcousticGuitar at about 6:43 anda fret buzz around7:31.

Paper

These documents get pretty rough treatment. You’ll use themat the basicssession, at every overdub session, andfinal-ly duringthe mix sessions. They’ll get written on, erased, written on again, and erased, and written on again.... It’sinevitable that they’ll be used as coasters, scratch paper, and note paper. They’ll document audio tracks, phone messagesandfoodorders. If your track sheet does all these things, it’s a session asset. And it will better surviveall this abuse if you print it on to heavy paper. Even cardstock isn’t a badidea.

studio documentation 1

Documents