Avery McKinley Avery McKinley

The Click Track Dilemma: When to use it, When to let it go

Click Tracks & Metronomes: Do You Really Need Them?

After our last post digging into the big question of “Who are you creating for?” we figured we’d bring it down to something more grounded— but still something we keep talking about: click tracks and metronomes.

It’s come up in rehearsals, in the studio, even in those after-practice hangs. When do you use a click? Should you always use one? Is it helping— or just getting in the way?

What’s a click, really?

Let’s start simple. A metronome or click track is just a steady pulse— usually a series of beeps, clicks, or ticks— that keeps time. Some clicks are basic: just quarter notes, one sound, repeating forever. Others get fancy— accented downbeats, subdivisions, polyrhythms, swing feel. You can get deep if you want to.

And they can be used in all kinds of ways. Maybe only the drummer hears it. Maybe the whole band does. Sometimes it’s piped into in-ear monitors, other times it’s just a phone app on a practice amp. In a recording session, it can be critical— or totally unnecessary.


Some music needs a click

Certain types of music— especially dance, electronic, pop, or hip-hop— pretty much live on a grid. You’ve got layers of parts being built, chopped, moved around. A click track keeps everything aligned. It makes editing cleaner, syncing easier, and transitions tighter.

And if you're tracking in stages (say, recording drums after guitars or vocals), having a click is usually what makes that possible.


Some music really doesn’t

But then you’ve got songs that breathe. Songs that pull back in the verse and push forward in the chorus. Songs that rely on feel, not precision.

Ever listened to "Honky Tonk Women" by The Rolling Stones? The tempo shifts throughout— sometimes it speeds up a bit, sometimes it drags just enough to feel loose and groovy. That wouldn’t happen with a click. And it’s part of what makes that song what it is.

Or take "Bohemian Rhapsody" by Queen. Its varying tempos — moving from ballad to opera to hard rock — were never locked to a click, allowing for a more fluid, organic feel. This freedom is a key part of what gives the song its dynamic flow and emotional punch.
Think of artists like Nina Simone, The Band, or even James Brown— who famously used no click but had incredible internal time. These artists used tempo like another instrument, not just a container for rhythm.



But metronomes aren’t the enemy

We’re not here to bash metronomes. Far from it. They’re one of the most valuable tools a musician can have.

If you’re working on your timing, tightening up your groove, or learning to subdivide beats, a metronome will tell you the truth. It’ll call you out. It’ll humble you. (We’ve all had that moment of thinking we were in the pocket… only to find out we were rushing.)

Practicing with a click teaches you how to feel the beat, not just count it. Start with straight quarter notes. Then try turning the click into just beat 2 and 4. Then just 1. Then none at all—just feel it and come back to check in. That’s how you build internal time.



Real talk: the click isn’t right for every artist — and that’s totally okay.

For some musicians, a click track can feel limiting. It might stiffen the groove or flatten the emotional flow of a performance. For others, it’s a helpful anchor that brings focus and cohesion.

It’s not about right or wrong — it’s about what serves the song, the players, and the moment.

We’ve had sessions where the click made everything tighter and smoother. And we’ve had others where it drained the energy, so we turned it off after one take.


So… when was the first click track?

Historically speaking, the click track showed up in film scoring first. Carl Stalling used one back in the 1930s for animated cartoons— so music and visuals could sync up perfectly.

It wasn’t until the rise of multitrack recording in the ‘60s and ‘70s that clicks became common in the studio. Drum machines, digital audio workstations, and the growing demand for “tight” productions made them a default.

But even now, not every session uses one. And not every great record needs one.



Want to practice with a metronome?

There are a bunch of great tools out there now:

  • Soundbrenner – sleek, customizable, and even wearable if you’re into that.

  • Tempo Advance (iOS) – great for complex subdivisions and tempo changes.

  • TonalEnergy – part tuner, part metronome, part Swiss army knife for musicians.

You can also just start with a simple free app or an old-school analog metronome. Whatever helps you get tighter.



Your groove, your rules.

As musicians, we work in time as much as we work in sound. The click track is one way to shape that time— but it’s not the only way.

Use it when it helps. Ignore it when it doesn’t. Trust your ears, trust your body, trust the people you’re playing with. A great groove can come from a metronome— but it can also come from a shared look across the stage, a deep breath before the downbeat, or a little push-and-pull that only happens in real time.

So the next time someone asks “Should we use a click?”, the real answer is: it depends.

Just make sure it’s your choice.


Interested in recording?

Want to share your own love/hate relationship with the click? Or have a great example of a track that breathes beautifully without one? Drop it in the comments or DM us— we’re always listening.

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Avery McKinley Avery McKinley

Art vs. Entertainment: Who Are You Creating For?

In our last post, we explored tools—analog vs. digital—and how each shapes the sound and soul of what we make. But tools are just the how.

Now, let’s talk about the why.

Because beneath every mic check, every DAW session, every rehearsal, every messy voice memo at 2am… there’s a reason you’re making music in the first place.

So—what is it?

Are you trying to express something personal, honest, maybe even uncomfortable?
Or are you creating something people can move to, sing along with, escape into?

Are you here to make art?
To entertain?
Or to find your place somewhere in between?

Whichever it is—it matters. It shapes the way your music moves through the world.

The Artist: Inner Truth First

The artist creates to process, to reveal, to reflect. The music is a mirror, not a product.

Art doesn’t always come with a hook. It doesn’t always feel good. Sometimes, it lingers like a question with no answer. And that’s kind of the point.

Artists are often asking:

  • What’s true for me right now?

  • What haven’t I said that needs to be said?

  • What would I make if no one else ever heard it?

Being an artist means being okay with not pleasing everyone. You’re chasing honesty, not algorithms. Depth, not reach.

It’s vulnerable, it’s bold—and sometimes it’s misunderstood. But when it connects, it really connects.


📌 Example: Bon Iver – “715 - CRΣΣKS”
This vocoder-heavy, raw track breaks all the "rules" of mainstream structure—but it hits like a gut punch. It’s about mood, emotion, vulnerability. Justin Vernon wasn’t trying to top charts—he was processing something real.
🎧Recorded at April Base Recording Studio, in Eau Claire, Wisconsin. Watch the video below


📌 Example: Joni Mitchell – “Blue” (album)
An iconic example of unfiltered, diary-like songwriting. No flashy production—just truth, melody, and poetry.
🎧 Recorded in 1971 at A&M Studios in Hollywood, California. Check it out below

The Entertainer: Energy Outward

The entertainer’s gift is connection.
You read the room. You create moments. You bring people into something.

And that doesn’t mean it’s shallow. Entertainment is its own kind of magic—it takes intuition, presence, and heart.

Entertainers are often asking:

  • What do people need right now?

  • How can I make them feel good?

  • How do I leave them with something they’ll remember?

Entertainment is generous. It’s responsive. It lifts. It might be light, it might be powerful, it might just be fun—and that’s more than enough.

Being an entertainer means showing up with people in mind. You’re offering an experience, and that’s a beautiful kind of purpose.

📌 Example: Lizzo – “Juice” (Live on NPR Tiny Desk)
Effortless charisma, crowd engagement, and pure joy. Lizzo knows how to entertain without losing authenticity.
🎧Recorded in 2019 at NPR Music headquarters in Washington, DC. Watch the performance below

📌 Example: Bruno Mars – Super Bowl Halftime Show
Every move, every note is designed to light up a stadium. It’s polished, precise, and joyful—textbook entertainment done right.
🎧 Recorded in 2014 at MetLife Stadium in East Rutherford, New Jersey. Watch the performance below

The Middle Space: Where Most of Us Live

Of course, this isn’t a binary. It’s a spectrum—and most of us live in the middle.

You can write from a place of deep emotion, and still want the crowd to sing every word.
You can craft something catchy and polished, and still have it come from a real place.

📌 Example: Kendrick Lamar – “Alright”
A politically charged anthem that also became a festival chant. Personal, poetic, and powerful—but also unifying and unforgettable.
🎧 Recorded from 2014-2015 at Treasure Island, San Fransisco, California. Watch the performance below

📌 Example: Lady Gaga – “Shallow” (Live at the Oscars)
Artistry meets performance. It’s stripped back yet cinematic. She walks the line between honesty and theater with precision.
🎧 Recorded in 2019 at the Dolby Theatre in Hollywood, Los Angeles. Watch the performance below

📌 Example: Tyler, the Creator – Tiny Desk Concert
Weird, beautiful, emotional, funny. He’s not trying to fit one role—he’s making his space and inviting us into it.
🎧 Recorded in 2017 at NPR Music headquarters in Washington, DC. Watch the performance below

Even in the middle, it helps to know where you're leaning—because that clarity shapes your choices:

  • The lyrics you write.

  • The sounds you chase.

  • The way you show up.

  • The way you define success.

A Personal Pause

So take a second. Not with pressure, just with curiosity.

Right now, in this season—what’s driving you?

Are you here to express something burning inside you?
To reflect your inner world, even if no one else gets it?

Or are you here to create something that brings people joy, escape, release—something that meets them where they are?

You don’t have to choose forever.
You don’t have to label yourself.

But getting honest with yourself about your current focus?
That’s how you make music with intention—whether it’s meant to stir something deep, or simply keep the room alive.

Your Turn

Take a few minutes—grab a notebook, or just sit with this:

  • Am I writing for me or for them?

  • What do I want people to feel when they hear my music?

  • What do I want to feel when I make it?

No judgment. No branding. Just honesty.
That’s where the good stuff comes from.

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Avery McKinley Avery McKinley

Analog vs. Digital: pros and cons

Welcome to our blog

Welcome

Hey there, and welcome to the official blog of Widget Studios! If you’re passionate about music - whether you’re an artist, producer, engineer, or just a fan of the creative process - you’re in the right place.

At Widget Studios, we’re more than just a recording studio and rehearsal space; we’re a community built around music, collaboration, and creativity. With this blog, we’ll be sharing insights, tips, and behind-the-scenes stories about the music industry. Expect topics ranging from recording techniques and gear talk to artist spotlights, industry trends, and everything in between.

We’ll be posting about once a month, so stay tuned for fresh content, and feel free to reach out if there’s something you’d love to see us cover. Thanks for stopping by—this is just the beginning!

Introduction: The Great Debate – Digital vs. Analog in Recording Studios

The analog vs. digital debate has been a defining topic in music production for decades, with strong opinions on both sides. Analog recording, once the industry standard, is cherished for its warmth and organic character, while digital has revolutionized production with its flexibility, affordability, and precision. Some purists insist that nothing compares to true analog sound, but modern digital technology has come impressively close to replicating its warmth. So, is one truly better than the other, or does it all come down to preference and application? In this post, we’ll explore the key differences in sound, workflow, cost, and accessibility, why many studios such as our own embrace a hybrid approach, and how different genres and artists make their choice.

Sound Quality & Character

Analog recordings have a warm, natural sound due to tape saturation and harmonic distortion, while digital offers clean, precise audio with higher fidelity. Though some prefer analog’s character, modern digital plugins have come close to replicating its warmth.

Workflow & Convenience

Analog requires real-time recording and manual adjustments, while digital allows for quick edits, automation, and instant recall in DAWs. Digital is generally more beginner-friendly, whereas analog demands more technical skill.

Cost & Accessibility

Analog studios are expensive, while digital setups are far more affordable and accessible for home producers. Analog gear holds its value, while software tends to depreciate over time.

Genre Considerations

Which genres benefit most from analog warmth?
Rock, blues, jazz, and soul often thrive with analog warmth due to their reliance on organic sounds, live performances, and dynamic range.

Why electronic music and hip-hop producers lean toward digital.
Electronic and hip-hop producers benefit from digital’s precision, easy recall, and endless sound design possibilities. Sampling, MIDI, and automation make digital essential for these genres.

Case studies of famous artists using each approach.


HYBRID STUDIOS: THE BEST OF BOTH WORLDS

If you’ve ever wondered why so many studios swear by a hybrid setup, it’s simple: analog gear brings warmth, depth, and character that digital alone can’t quite replicate, while digital offers the convenience and flexibility that modern workflows demand. But not all hybrid setups are the same. Some studios mix entirely in a DAW and use analog gear for final touches, while others—like us at Widget Studios—go all in on analog mixing, using a console for most of our EQ and level adjustments before capturing the final result digitally.

Different Approaches to Hybrid Mixing

There’s no one-size-fits-all approach to hybrid mixing. Studios tend to fall into a few categories:

Tracking with Analog Preamps and Compressors – Running vocals or instruments through outboard gear before converting to digital.

Mixing in a DAW with Some Analog Processing – Doing most of the work in-the-box but sending certain tracks through analog gear for extra color.

Mixing on a Console Instead of in the DAW – Shaping the entire mix on a physical console before recording the final version digitally.

Analog Summing for Extra Warmth – Using a summing mixer to add depth and cohesion to a digital mix.

At Widget Studios, we don’t just add a bit of analog flavor—we mix in the analog realm, using the console as the heart of our process.

How We Work at Widget Studios

A lot of modern studios mix digitally and use outboard gear here and there. That’s not us. We take a more hands-on approach, doing most of our mixing on the console, not in the DAW. Here’s what that looks like:

1. We track with analog gear – Everything we record runs through high-quality preamps and compressors before hitting the digital realm.

2. We mix on a console, not just sum – Instead of tweaking levels and EQ in a DAW, we shape the entire mix on a physical console, using outboard gear where needed.

3. We rely on recall sheets, not digital automation – Since our console and gear don’t “remember” settings like a DAW, we document everything manually. That way, we can recreate mixes even though we can’t just hit “save.”

4. We capture the final mix digitally – Once we’ve got everything sounding right, we print the mix into a digital format, giving us the best of both worlds—analog sound with modern convenience.

Why We Do It This Way

Sure, mixing in a DAW is faster. But working on a console gives us something digital can’t: immediacy. We can reach for an EQ knob instead of clicking a mouse. We can balance levels by feel, not by dragging faders on a screen. It’s a process that forces us to commit to choices instead of endlessly tweaking plugins.

That’s why recall sheets are so important for us. Since we can’t save our mixes in a DAW, we keep detailed notes on every setting—EQs, fader positions, compressor settings—so we can come back to a mix with confidence. It’s old-school, but it works.

Bringing Analog Into a Digital World

If you’re thinking about incorporating analog gear into your workflow, there are plenty of ways to do it:

• Using hardware inserts in your DAW for real-time processing.

• Printing analog-processed tracks back into your session.

• Going all-in with console mixing and keeping recall sheets like we do.

At the end of the day, hybrid studios like ours aim to strike a balance—capturing the sound of analog without losing the flexibility of digital. It’s a little more work, but for us, it’s worth it.


Conclusion

The choice between digital and analog comes down to personal preference and the specific needs of a producer or studio. With advancements in technology, the gap between the two has closed significantly, allowing artists to achieve professional results regardless of the tools they use. Whether you choose analog, digital, or a hybrid setup, the most important thing is to focus on creativity and making great music.

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