About Recording
There are many myths and misconceptions about recording. One myth is that the size of the studio and the dollar amount of audio gear used are the determining factors in the sonic quality of a recording's sound. In other words, it's commonly assumed that if a band were to record in a large studio, with the finest gear available, then that recording will have a bigger, more spacious and higher quality sound than if the same band recorded in a smaller studio with less visually impressive gear. In an effort to dispel that myth, notice how this clip, (a demo recorded at Hit and Run Recording*), sounds bigger, more spacious and powerful than this clip, which is the same band recorded, mixed and mastered in a world class studio. Another misconception is that merely placing acoustical foam on the walls makes a room suitable for recording, when in reality, bass frequencies and other acoustical factors need to be controlled too, and that requires the right types and ratios of bass traps, diffusers, etc, which are found at Hit and Run Recording. (detailed on the equipment page).
Features of Hit and Run Recording
An experienced engineer and producer ensures quality.
While the hourly rate is an important factor when deciding on where to record or mix and master your project, the other half of the recording budget equation is the time or speed in which the recording process is carried out. Engineer Steve Carr is known for his engineering -editing experience-skills, musical ear and ability to creatively manipulate the technology, all of which combine to achieve the artist's recording goals.


For most projects recorded at Hit and Run Recording, the CD mastering is done as part of the mix process.
Contrary to the old school of though that mastering** is a separate step in the recording process, mastering while mixing makes the best use of current day technologies to allow the mastering of an album project to evolve as the project progresses. Needless to say, this saves the recording artist time and money, while at the same time, ensures the best sound quality for the budget because any issues with the EQ or dynamics of any individual tracks or their mix are addressed closer to their source as opposed to attempting to correct or enhance them after they have been blended together into a single 24 bit wav file (as a mastering engineer does). Note that there are situations where mastering separately is actually the best, most efficient way to go as in the case of albums where the instrumentation varies significantly from song to song or where the budget allows for the added time needed for an extra level of perfection

Multiple rooms designed to record full bands.
There is an art and a science to capturing the intensity of a live band on a recording. The layout and acoustical design of Hit and Run Recording allows for a band to set up as they would for a show or band practice while at the same time, achieves a recording that has all of the good qualities of a professional studio recording combined with the live energy of a group playing together all at once. Four independent headphone mixes allow the musicians to monitor the other players clearly. Note that while most groups over dub their vocals (so that there is less "bleed" of other louder signals into the vocal mics), the five vocalists on Go Go Audio Clip #1 were all recorded live with the band, as was the lead singer on the "Alt. Acoustic" band sound clip- and both the recordings still sound clear and well defined.
* At 1100 sq ft Hit and Run is spacious and can record large bands (GoGo Band audio clip #1- 5 singers, drummer, bassist, 2 keyboardists and percussionist - all recorded at the same time)
**The stage during the recording process where the EQ and levels of the individual songs are evened out and the sequencing of the final song order.