Session Documentation: Plan Wisely & Arm Yourself With Data! on

Whether you’re just beginning a career in recording or you’re at the top of your game, documentation is key. Imagine you’ve just finished a killer tracking session, one you may want the ability to recreate someday (hint: that’s potentially every session), so now what? I’m generally confident in my memory for microphone placements and studio setup for a few months, however plans change over time, and what may have been easy to remember tomorrow suddenly needs to be compartmentalized until everyone is available again next month. Plus, there’s no remembering compressor or EQ settings, let alone values for gear that has less than descriptive faceplates.

So, what’s an engineer to do? Well, the obvious answer is documentation of some form. If you’re serious about this business, you’ll be documenting your session. After all, you never know what may become of that last-minute project you did last week, and it’s always valuable to be able to look back. All this having been said, what form of documentation you use depends completely on your work-flow and needs. There are many important items which should be included in your documentation, as discussed by David Miles Huber in his newest version of Modern Recording Techniques, 8th Ed.

For David’s thoughts on documentation as well as sage advice from Kyle on the various forms that production documentation can take, be certain to click through to for my complete article.

Session Documentation: Plan Wisely & Arm
Yourself With Data! on

Kyle P. Snyder

Kyle P. Snyder is an engineer, educator, and consultant skilled in audio recording and mixing, sound design for film and video, facility design and integration, and live event production. Snyder works remotely on projects of all sizes from his Ohio-based studio, White Coat Audio, LLC. He is also a faculty member within Ohio University’s School of Media Arts & Studies dedicated to the advancement of audio education for engineers at every stage of development where he routinely teaches courses in music production, critical listening, and sound design for film and video.