top of page
Recording Studio

Recording & Submitting

⦁    Scheduling A Session & Recording - A scheduling form must be filled out, for availability. Response time takes usually 4-6 days. Once approved you'll receive an email providing a local listing of recording venues/studios that we have subcontracted with, a brief biography of each listed will be attached via email. Please select your venue/studio wisely. Visiting the site before the recording date is recommended. If recording takes place at Artist/Customer's desired location, then the location will have to be known as a safe/non-hostile environment, where recording is allowable and achievable. Artist/Customer expectations are as follows, once the date is set you are responsible for traveling to the site/session at your own expense. Getting to appointments on time is mandatory. Cancellations are only allowable within 48 hours, contact via email for cancellation. Any cancellations not made within 48 hours will be subject to a "NO-SHOW" fee, charged in addition to next month's membership fee. Emergency cancellations outside of 48 hours standards, will be reviewed for exemption. Compensation for traveling to the venue/site/session is only for (Streets 101 Official Artist) memberships. Lyft/Uber rides are the only allowable transportation via car. City/local bus & train travel will be paid for by the company. Greyhounds, Megabus, Amtrak, planes, and other extreme traveling vehicles are not available for compensation. Reimbursements will be paid out within 1-3 business days upon receiving the receipt via email. We will compensate for half the Lyft/Uber expense up to 15mi to and from the destination. Reimbursements will be either mailed or sent to a cash app of your choice. Be sure to be prepared to record once you arrive. Signing in with the contact/subcontractor is required, and the account number must be verified before proceeding to record the session. Conducting professional mannerisms at all times is a priority. While at your appointment you're allowed to have two guests, preferably a manager & one guest. Sessions are scheduled on a 1-2 hour basis depending on time and availability, artist are expected to be prepared to record upon arrival please use all time productively. Streets 101 we will not be held responsible or reliable for any occurrences that happen during a recording session, including if a song or song is not done in time, this is only at the artist's discretion. Make sure before you leave the studio they email you the (wav.) audio track-outs of your vocals or get them placed in a flash drive. If you want to use recordings for your own usage that's perfectly fine we just provided the perk. This only applies to members with the Official Artist plan.

⦁    Self Recording - All audio recordings must meet company standards. Vocals are the most important part of your mix. Without a good vocal tone, your mix will always sound amateur. You want to get the vocals right every single time. We expect to hear vocals that are super consistent in volume - every word and syllable should be loud and clear. In order to accomplish a great lead vocal sound in a non-professional environment, it’s a good idea to record in a neutral, dry room. You’ll want to avoid cavernous rooms with reflections and reverberated sound because it will affect the quality and the control later in the mixing process. Keep in mind that there’s no way to go back to "dry" from a "wet" sound, so make sure the room has a controlled sound, leaning towards dry (not "dead" though). A bedroom works well because your mattress, blankets, cupboard, and even curtains are all good sound absorbers. In any case, you can build a simple vocal booth using old blankets, curtains, mattresses, and pillows. You could even add a few rough wood panels to create a more natural sound. Remember, the most important thing to avoid is those reflections and echoes typical of hard floors, empty rooms, and large rooms. Position your mic and pop filter correctly. Place the mic diaphragm facing your lips (sometimes off-axis, if necessary). Listen with your headphones for the subtle differences. Try close (two or three inches) or mid-distance (one foot) mic’ing, depending on which sound works best for your track. Always use a pop filter in front of the mic to tame your “P” and “T” sounds. If you don’t own a pop filter, you can make one from scratch with a sock or stocking cap stretched over a wire hanger. Get the right mic levels, after the mic warms up for a few minutes, quickly get the level into the preamp and on the DAW. Vocals should be safely below the red to avoid distortion from levels that are too hot (also known as  “clipping” or “peaking”). Learn more about proper mic'ing techniques here. Do several takes, and warm up by singing through the entire song two or three times before going into detailed spots. Relax and have fun the whole way through – you’re making music, after all! Record everything and properly label all the tracks and takes for easy reference later. If you’re not pleased with your performance after multiple takes, take a break and step away from the song. Sometimes overdoing it can put a strain on your performance and your voice. Instead of letting frustration build, coming back to it with a fresh start the next day might be your best move. When you sign up you will receive a helping program with video training & guidelines titled "Self Recording Successfully" via email, the content will explain most of the previous information in a step-by-step sequence.

⦁    Vocal Effects - No effects or plug-ins are to be added to the recording. Pre-amp & compression hardware linked to an interface, are the only options to be used during a recording session. Effects will be added once track-outs are submitted for mixing. You will have the option to select from the following.


For subtle widening of vocals to add depth across the stereo spectrum. We send the vocal to a bus and add a compressor and a stereo widener. Then add in the stereo widening until the vocal starts sounding larger

2.    TAPE SLAP:

For a live-sounding studio feel. It makes the vocal sound like it’s recorded in an old-school studio with the instruments all around it. We use the Kramer Tape plug-in and use the slap/delay section to add it to the main vocal without using it as a send. You can replicate this without the Kramer tape by using a slap echo and some analog saturation.


Use this technique when you want vocal depth without space. It’ll make the vocal larger and more present without adding any reverb tail that could clutter up the mix. We send the vocals to a stereo delay with 21 ms on the left and 29 ms on the right. Then use a pitch-shifter to detune or pitch up the vocal about 10 cents. Add the send under the main vocal track until you’ve achieved the desired ambiance needed. An advanced way to do it is with two mono delays panned hard left and hard right with one pitch shifter detuning the vocal 10 cents while the other pitches the vocal up 10 cents.


Sometimes you want to soften up a delay and make the delay repeats sound smoother. We add a reverb after the delayed bus and add a shortish delay so that every delay repeat will get diffused by the reverb.


Pre-delay can make the reverb sound bigger without getting in the way of the vocal because it’s essentially delaying the effect of the reverb by the number of milliseconds you choose. Most reverbs have a pre-delay setting. Tweak the pre-delay to 20 – 40 ms to hear how the reverb pushes back away from the initial phrases of the vocal.


Singers can’t always double their takes perfectly. If you have the ability through editing, you can make the vocal track stronger by tweaking the phrases to match exactly. This is especially easy with modern flex-time editing tools. You’ll end up with a perfect double instead of two vocal tracks that sound slightly out of sync with each other. Depends on what DAW and what tools you have at your disposal, but the goal is to line up the phrasing exactly to the main vocal track.


If you want to retain the dynamics of the main vocal track but add thickness and punch, you can add multiple compressors in parallel to get the best of both worlds. We send your vocal to two different compressors, an 1176 FET style compressor, and LA2A Opto compressor for instance. Then blend the compressed vocals underneath to taste. The different compression styles will process the vocal differently so you might want more of one than the other.


If you want a lot of space around the vocal, but don’t want to clutter everything up with reverb we can side-chain the reverb and delay to duck out of the way whenever the singer is singing.


This is another vocal effect that’s more about adding depth than cluttering up the mix with too much reverb or too many delay repeats. We add a 100-millisecond delay with one repeat and add it underneath the vocal.


For that propaganda vocal effect! we use a high-pass filter and filter out all the lows and the low-mids until about 3-400 Hz. we also add a low-pass filter and filter out all the highs down to 2-3 kHz. Find a couple of ugly frequencies and boost them. For an even more drastic effect, we add some gentle saturation for some real grainy-sounding vocals. This actually works surprisingly well on hard rock as an effect.

11.    AUTO-TUNE: (pitch correction in general)

is used in one of two ways, for locking in a few stray notes that missed the mark in spite of an otherwise rockin’ performance or used to create a tone, much like a phaser or flanger or reverb or distortion.

⦁    Adding Feature Artist - No features on audio tracks unless you are a group or member of Streets 101. There's an additional fee per artist added, up to 2 allowable per song prices at $19.99 each. All tracks recorded will be subject to the same policies and rules as the artist. Feature artists will not receive a copy of the track, by Streets 101, the scheduled recording artist, nor the recording studio under any circumstances not until after the final release. Featured artists & scheduled artists must record in the same studio, during the same session, and the time will be formatted accordingly. Safety protocol & guidelines will be held the same for the featured artist as they are implicated to the scheduled artist.

⦁    Submitting Audio Track - Vocals are summited via email only. You are responsible for making sure we get the vocals, only if you requested to have them mixed & mastered, make sure they're working before you email them to us.  No effects are to be added to the vocals when submitted. Send audio track-outs only and must be a (wav.) file, not an mp3 file. We only well accept main vocals, dub vocals, ad lips, in & out vocals, hook, hook dub, and hook extra. Each vocal summited must have the title/name of the song attached to it along with names for each vocal part, and numbers of the beat per minute.

Title of Song - "The One" (BPM - 119)
The One - Main Vocals wav.
The One - Dub Vocals wav.
The One - Ad Lips wav.
The One - Hook wav.
The One - Hook Dub wav.
The One - Hook Extra wav.

Let’s Work Together

Get in touch so we can start working together.

Thanks for submitting!

bottom of page