Guidelines and principles for artists - check out:

Before the recording session

Practice your presentation as close to ​made-up as possible. This will save time and allow for a smoother production.

Figure out in advance the instruments, arrangements, and soundscape you want for your project. The more precisely you know what you want, the less time it will take to find the desired state. Of course though, it is still natural to search for sounds and arrangements underway.

If you already have some kind of demo recording of your performance, that's great. Bring it along and we'll discuss ways to get close to it or somehow fix it.

Also bring your confidence, your own personality, your curious openness, and your bold imagination.

A written production contract is made with the customer, which specifies the measures to be taken on the artist's assignment, as well as any related costs and production fees. A cost estimate is always provided for the work, and ultimately a breakdown of any deviations.


During the recording session

We first tune the instruments - including the vocals - to the correct key and scale. Slightly unusual tunings often bring a unique sound to the performance. For example, compare the differences between standard and various open guitar tunings.

We all have our own given voice and register. Chords transposition into the singer's vocal range is sometimes necessary. The importance of vocal opening and breathing technique should also not be underestimated.


About production - technology, practice and end result

The recording studio and equipment are located on the open second floor of a wooden residence house, which has an acoustically comfortable environment. However, it is worth keeping in mind that this is not a world-class million-buck studio, and the resources are not comparable. However, digital editing methods provide good potential for high-quality recordings.
Check out the samples  here  or the link in the top bar.
(The studio space is also used as a rehearsal room by a certain rock orchestra).

With electronic instruments, we generally use a digital audio line, which prevents ambient noise from entering the audio track. Naturally, this does not apply to vocals and acoustic instruments, but high-quality microphones still allow for interference-free and crystal-clear recordings. Of course, electronic instruments can also be recorded with different microphone combinations.

The mixing phase of soundtracks is almost always a rather time-consuming task finding the balances and right sounds. The initial pre-mix is ​​shared with the customer at the end of the session to take home and evaluate with their own equipment. The post-mixing work usually takes place in the studio over a period of days - not months - and the result is sent to the performer in electronic form later. The changes requested by the performer are of course taken into account, and the final recording is delivered in a lossless file format when the desired sound result has been achieved.

Voice and instrument samples are sometimes useful and appropriate, but the purpose and wish is to produce the performer's natural singing and playing tone for everyone's enjoyment and benefit. Artificial intelligence and, for example, autotune are indeed avoided. Unless your genre is artificial machine music, real sound production is preferably used.

Have you ever been annoyed by the squeaks of guitar strings in music? They are generated when you drag your fingers across the wound surfaces of the strings. Eliminating them when editing is very difficult, so they are often left in the final master and hoped to be perceived as insignificant or natural side effects. No, we don't think so - we use flat wound guitar strings. Yes, they will also sound great when the players know their stuff.

Attention is paid to the vocalist's articulation - in any language, the syllables of the words and the rhythm of the lyrics to achieve a good linguistic result. And those consonants at the ends of phrases ....



Aftermath and more

The ultimate idea behind this activity is to help young, promising artists get started in the realization of their art with a very reasonable initial investment. This is not done with cash in mind, but out of love for the game and the joy that both the creators and the producer receive.

We do not claim that the "Art Distilleries" production will reach up to the stunningly magnificent sound of today's costly high-end studios and professionals - it just is not possible with these resources. Very close, however, I might argue. The producer has been involved with music since a young age - as a singer, musician and performer. Today, as a retiree, day work no longer takes up all of the time, so it is also possible to focus a little on the essentials; doing what gives satisfaction to the musician's soul.
The above has been taken into account in the pricing. However, time is money even in retirement, but the compensation for time spent on fun and useful activities is nominal. The main thing is elsewhere - spreading out music and the joy of making it.

The artists who work with us are free to make their music according to their own wishes and style, either alone or with a group. The producer will not dictate the artist's art, but is happy to present his own talents and expertise to achieve the desired result. Small-scale accompaniments and background vocals are also feasible, while the artist still sets the pace.

The master sound recording obtained here will belong to the artist as his/hers legal copyright, which the artist has a right to use in any way desired. However, if it so fortunately happens that it leads to commercial success, it is considered appropriate and reasonable to refer the initial production of the recording as been crafted at the "Art Distilleries" studio. The original separate sound tracks are stored by the producer, and they are also available if necessary according to separate agreement. In these cases, commercial merit should also be shared with the "Art Distilleries" studio in accordance with the principles defined by  Teosto  and  Gramex. The producer is a member of both copyright interest associations.

This activity is not done covertly or in the grey, but a clean invoice with a Y-code is delivered for the production work performed, the due date of which can be agreed upon very flexibly. The principle is to manage financials in a proper, transparent and legal manner. We are convinced of the customer's satisfaction with the price-quality ratio.


Got you interested? Drop an email:
art(at)artdistilleries.fi