There are so many tried and true ways to record a group or particular instrument that it would take pages to describe all the various methods. I can tell you a few things, though, based on my own experiences, successes and failures.

Generally, for solo artists, duos or bands, I like to record instruments first and add vocals later. I usually like to record a band as "live" as possible, at least for the initial rhythm tracks. At the very least, I would like to come away with a good, solid drum track, and preferably with bass. Acoustic guitar, unless run direct, can pick up bleed from other instruments, and should not otherwise be recorded with the rhythm section, except as a reference. After the basic track is laid down, we can overdub acoustic guitar, solos, vocals and whatever other stuff you plan to throw into your arrangements. Some solo performers are comfortable playing their instrument and singing at the same time. In this situation, we usually take a direct line out of the instrument, and record the performance, then re-do the vocal as an overdub.

Generally, I prefer fairly close micing, unless I deliberately want to pick up ambience for a particular effect. I typically record "dry" (no effects) because once a signal has been recorded with the effect, it is impossible to remove. If you record a dry signal, the recorded signal can still be run through that favorite chorus stomp box for mixdown.

Acoustic Guitar: Anything goes, and many combinations have worked well. I have used large-diaphragm condensers, small-diaphragm condensers, dynamics, direct line, and combinations thereof.

Electric Guitar: Most of the electric guitarists I record will bring their half-stack or combo amp and a few axes to a session. I will usually mic the amp with the tried-and-true SM57 or Audix i5, but have also used large-diaphragm condensers like the Audio-Technica AT4033 with excellent results. Like their drummer brethren with their drums (see "electronic drums" question), electric guitarists tend to insist on using their Marshamesafender Super Testosterosonic Megastack amp because - let's face it - nothing else will do. Being a guitarist, and an electric guitarist first and foremost, I understand this completely, and until recently would never have even considered recording with an effects box. But all that changed when I encountered the Line 6 POD. As a guitarist, I can assure you that this thing is fantastic. Its amp models are extremely credible, it's responsive, and - here we go again - THERE'S NO BLEED; the entire rhythm section can track together at the same time. I will always give my clients what they want, but if you come in to record electric guitar tracks, I hope you will at least consider using the POD, even if only for a reference track. Believe me, I love cranking up an amp and throwing a sweet mic on it, and we'll definitely do that if that's what you want. But something all musicians can benefit from is learning the basic reality that the recording studio experience is a whole different animal from playing live. You'd be surprised: The little "tricks" you think are going to make your guitar sound MASSIVE can actually have the opposite effect, and things you think would make your guitar sound tiny can actually make it sound bigger. Go figure. Listen to the early Boston albums and notice the clean guitar sounds you never knew were in there.

Bass Guitar: I've tried a lot of different approaches, but I still like recording bass direct into the board through a direct box or a Behringer Bass V-Amp. Another technique that has worked well is to tap into the line out or recording output from a bass amp head. I have also used a tube preamp successfully. I still find the direct sound pleasing and easiest to work with later.

Drums: I usually follow industry standards on drums; dynamics on kick, snare, and toms, and small diaphram condensers in an X-Y configuration on overheads, and condenser on hi-hat. I have used SDCs on snares and LDCs on kicks, too. Mic type and placement varies with the type of music being recorded.

Keyboards: We do not have a piano, but we have a wide selection of high quality sampled piano sounds, as well as keyboards with weighted, piano-like action. There are also many other types of sounds other than piano available, allowing for complete orchestration if desired. Keyboards are usually recorded direct, sometimes through a preamp.

Vocals: Again, mic selection and placement vary according to the music and vocal style being recorded. As with acoustic guitar, I have used LDCs, SDCs, and dynamics on vocals. Occasionally I will start with one mic, record a little to see where we are, and then make changes in mic selection and/or placement. I usually like the singer to sing "up" into the mic slightly; this opens the throat passage and allows air to move more freely. Group vocals can be approached in many different ways, including all singers gathered around one mic, separate mics for each vocal part, and others. A good headphone mix is imperative. If you cannot hear yourself well over the track, you will push, and this will adversely affect your singing and stamina. If your voice is too loud over the track, you will hold back, and this will result in a mousy performance. Communicate with the engineer to get a headphone mix that allows you to sing in a comfortable manner, and enables you to hear the accompaniment without straining. The overall volume can be controlled in the control room by the engineer, or in the recording area by the vocalist. For a vocalist whose dynamic range varies widely throughout the performance, I will run the signal through a compressor going in. This is a decision I do not make lightly, because recorded compression cannot be undone.

Some vocalists are surprised when they first hear themselves in a studio. Some find this a positive, exhilarating rush, and some people run out crying hysterically (well, not quite, but close). Being in a recording studio is the aural equivalent of being under a microscope. You will hear things you never heard before. The good news is that if you're good, you will sound better. The bad news is that if you're bad ... well, you do the math. Most of the time, though, people are average, so there will be little bugs to be worked out, but no insurmountable obstacles. Just be forewarned, and PRACTICE before you come in. Warm up your voice in the car on the way to the studio. Listen to yourself critically and objectively.

how do you record (fill in the blank)?