Editor's Note: This is the second of a two-part article by jazz singer Barbara Adamson on the trials and tribulations of recording her first CD.

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Phase 4: Evaluating the Session

After the sessions it is essential to take a break and get some emotional and creative perspective. Build in a minimum of several weeks to evaluate the studio tracks before starting overdubs. I made the mistake of thinking I could do overdubs the day after the sessions. You will need to evaluate time, solos, intonation, feel, vocal performance and engineering. You should map out the changes you want to make before you are in the studio and the clock is running.

Phase 5: Overdubs

It's fun to keep in mind that many of the greatest jazz vocal records were recorded live with no overdubs.

If you do need vocal overdubs, you will need to record them at the same studio as the main sessions unless you are re-singing the vocal track completely. Changing mikes, mixing boards or amps at the overdub stage will be audible in the final recording.

Most singers find that over hours and days in the studio their voices change tone and texture. Fatigue, wear and tear, stress, weather and Merlot can all be factors. (I have found most studios tend to be air-conditioned and cold). A good professional singer can easily match voice tone in overdubs, but if you aren't experienced, you may find it surprisingly difficult and time-consuming.

As a jazz singer, I feel strongly about singing entire choruses when recording as opposed to punching in single words or phrases. I never phrase anything exactly the same and punching single words can be challenging and disorienting. I want the most natural-sounding performance I can get. It is helpful to have the song lyrics written out line by line with columns for comments or scoring of the various takes. And of course if you are really on, you can nail a tune in the studio on a single take. That will be the moment when the magic is happening.

Phase 6: Mixing

Mixing is an extremely challenging part of the process. If you can observe another mixing session before you are mixing your own record, it will be helpful. Studying other recordings for the balance between instruments and how they sound (EQ and effects) can help prepare your ears. Generally, mixing sessions run long (ten to twelve hours) to cut setup costs. Plan on approximately four hours per tune. To avoid ear fatigue during the session, keep the volume at a reasonable level and take a lot of sushi breaks.

When you finish your mixing session, again, allow several weeks to evaluate the mixes. It is very helpful at this stage to listen on different speakers that you are familiar with. Smaller speakers (like your car stereo) at a low volume can really help you to hear the basic balance between instruments. (Please don't try this while driving.)

Phase 7: Mastering

Before you master your tunes, you will need to determine the order and have your engineer assemble the tunes with the correct times between them. The order of your tunes is very important. I found burning a series of CDRs with different song orders was extremely helpful.

And last but not least, don't skimp on mastering. It is essential for a good-sounding manufactured product and extremely important for reproduction over radio frequencies. Hire a mastering engineer with a lot of experience. It may cost up to $1000, but you won't be sorry.

So that's it. Now all you have to do is release it, promote it and tour! And don't forget Mr. Visa and Mr. MasterCard!

Barbara Adamson released her first recording, "Now is the Time," to critical acclaim in February, 2000, and has consulted with other vocal artists on their recording projects.