This week, we’re in the process of moving our old 12-track masters to DVDs. That means we have to listen to every multi-track recording we did and decide if it’s worth transferring. In most cases, it’s not, and that disturbs me. After really listening to some of the old things we’ve done, a few glaring problems keep coming up over and over.

The first problem is song length - the songs are too damn long. Groups seem to think that record companies and radio stations love long intros - they don’t. What may work great onstage to set up a groove, doesn’t work on record, for airplay or impressing a record label. Record companies buy singers and songs. It’s that simple. They don’t care about fancy instrumentals or how accurately you can sound like a group that’s already out there. They want to hear a commercial song, by a singer that can sell lots of records.

Long songs scare the hell out of radio stations and record companies. Don’t let the group ego get in the way of possibly getting a contract - not every song needs a 16-bar instrumental solo or a three-minute buildup to the lyrics. Save that stuff for clubs.

The second most often encountered problem is a lack of preparation. That one puzzles me the most. Why come into a studio if you’re not ready? Some groups walk in without a clue as to how they’re going to start or end a song, or what the solo is going to be. I guess they think the process of recording will inspire them. Wrong!!! Work these things out before you walk into the studio. Practice the songs you’re going to record before you hit the studio. That’s where you work out the starts, the ending, the solos, and the song lengths - not in the studio.

Problem number three is expectations about what you’ll get, and what you want it for. Most groups think that one recording can do everything - get them jobs, get a recording contract, get airplay and give them something they can sell at clubs. It can, sometimes - with proper planning, but that’s the problem - most groups don’t plan. A recording to get jobs can be very inexpensive - just go in and record a couple of minutes of about five songs and make a five-minute booking CD that gives a club owner a good idea of the group’s sound. No big deal.

For record companies (and airplay), a three-song, carefully polished and mastered demo (with three SHORT songs) will usually do the trick. No fancy graphics, no imprinted CDs, just your three best songs.

If you want something to sell at gigs, that’s the five to twelve-song package with a mix of short and long songs, the fancy artwork and all the bells and whistles. But make sure you can sell them first before you run off a thousand copies. I’ve seen groups fold right after the CD came out - and one person in the group winds up with a thousand copies of a CD, by a group that doesn’t exist any more.

Finally, find someone that’s been there and listen to them. They can save you time and hundreds of dollars. They’re called producers. They’ve seen all the mistakes that new groups make and can help you avoid those mistakes. But not just anybody that “thinks” they’re a producer, is. Make sure they care about, and understand, your music.

If you can’t find a producer, ask the engineer. If that doesn’t work, then you’ve gotta listen to your stuff critically. Do you start getting bored with a song halfway thru it? It’s probably too long, so cut it in half. Does the solo suck? Drop the solo!!! Is the song still too long?? Drop some choruses.

It can be fun, but ya know, it ain’t easy. (Harvey Gerst), ITR Studios, http://ITRstudio. com