The studio is where magic happens—or where hours disappear into frustration with nothing to show for it. The difference between a productive session that yields a potential hit and a wasted day often comes down to preparation, process, and mindset.
After countless studio sessions—some brilliant, some brutal, most somewhere in between—I’ve developed a process that consistently produces quality music. It’s not rigid or formulaic, but it provides structure while leaving room for creative spontaneity.
Today, I’m taking you inside the studio with me. This is the complete breakdown of how I record a dancehall track from start to finish. Not the highlight reel you see on Instagram—the real process with all its details, decisions, and occasional dead ends.
Let’s walk through a typical session as Tray Millen.
Pre-Session: The Foundation of Success
Great studio sessions start before you even enter the studio.
Mental Preparation (Days Before)
Setting intention:
I think about what I want to create—the energy, the message, the vibe. Is this a turn-up anthem? A motivational track? Something for late-night vibes? Clarity of intention guides every decision.
Listening for inspiration:
I create playlists of tracks with similar energy to what I’m trying to achieve. Not to copy, but to understand the sonic landscape and get in the right headspace.
Life experiences:
I pay attention to life between sessions. Conversations, observations, emotions, experiences—all of this becomes creative material. The best lyrics often come from simply living fully.
Voice care:
Leading up to sessions, I’m conscious about vocal health—staying hydrated, avoiding excessive yelling or strain, getting proper rest. Your voice is your instrument; it needs maintenance.
Day-Of Preparation
Physical state:
- Eat something light but energizing (heavy meals make me sluggish)
- Hydrate properly (water, warm tea with honey)
- Light exercise or stretching to get energy flowing
- Avoid dairy products that create excess phlegm
Mental state:
- Meditation or quiet time to center myself
- Review any pre-written lyrics or ideas
- Visualize the successful completion of the session
- Leave external stress and problems at the door
Practical preparation:
- Charge all devices
- Gather notebooks, pens, and any reference materials
- Check in with producer/engineer about session details
- Arrive early to settle in without rushing
The Arrival
I arrive at the studio 15-30 minutes before we actually start recording. This time is crucial:
Setting the vibe:
- Adjust lighting to comfortable levels
- Set temperature appropriately
- Arrange the space for optimal workflow
- Queue up reference tracks
- Test microphone and headphone levels
Mental calibration:
- Have casual conversation to relax
- Discuss the session’s goals with producer/engineer
- Get comfortable in the recording space
- Do light vocal warmups
The mindset: Relaxed but focused. Open to creativity but clear about direction.
Phase 1: Riddim Selection and Customization (30-60 minutes)
The foundation of any dancehall track is the riddim.
Option A: Working with Pre-Made Riddims
Often, producers send me riddim packs or I’m working with existing instrumentals.
My evaluation process:
First listen – Gut reaction:
I play the riddim and immediately note my physical response. Does it make me move? Do I feel energy? Does inspiration strike immediately?
Second listen – Technical analysis:
- Tempo and energy level
- Key and how it suits my vocal range
- Song structure and arrangement
- Sonic quality and mix balance
- Uniqueness versus similarity to other tracks
Third listen – Imagining vocals:
I freestyle lightly over the riddim, feeling where my voice naturally wants to go. If I can immediately hear melodies and rhythms, it’s promising.
The decision:
If the riddim passes all three listens, we move forward. If something feels off, we keep searching. No point forcing a connection that isn’t natural.
Option B: Creating Custom Riddims
Sometimes I work with the producer to build something from scratch or customize existing elements.
The collaborative process:
Step 1: Vibe discussion (10 minutes)
- What energy are we creating?
- What tempo feels right?
- What sonic references inspire us?
- What makes this unique?
Step 2: Building the drums (15-20 minutes)
The producer starts with the drum foundation. We experiment with:
- Kick drum patterns and sound selection
- Snare placement and tone
- Hi-hat rhythms and variations
- Percussion elements that add flavor
I give feedback throughout: “That snare needs more punch,” “Speed up the hi-hats slightly,” “Add a little syncopation there.”
Step 3: Bass foundation (10-15 minutes)
Once drums are solid, we add the bassline. This is crucial—bass is dancehall’s heartbeat.
We test the bass on multiple speakers to ensure it translates. What sounds good on studio monitors might be too heavy or too weak on other systems.
Step 4: Melodic elements (15-20 minutes)
Keys, synths, guitars, or other melodic instruments get added. We’re careful not to overcrowd—space is important in dancehall.
The guideline: If an element doesn’t enhance the groove or create necessary variation, it doesn’t belong.
Step 5: Structure and arrangement (10 minutes)
We arrange the riddim into proper song structure:
- Intro (4-8 bars)
- Verse sections
- Hook sections
- Bridge if needed
- Outro
We create subtle variations between sections to maintain interest without losing consistency.
The Riddim Test
Before recording vocals, I perform a final test:
Headphone check:
I put on headphones, play the riddim, and move around the studio. If the riddim makes me want to perform, it’s ready. If I feel hesitation, we troubleshoot.
Energy verification:
Does this riddim match the energy I intended for the session? If not, do we adjust the riddim or shift our creative direction?
Once we’re both feeling it, we proceed.
Phase 2: Lyric Development and Structure (30-90 minutes)
With the riddim locked, I focus on what I’m going to say and how I’ll say it.
The Hook First Approach
I almost always start with the hook—it’s the song’s anchor.
Free writing (15-20 minutes):
I write freely in my notebook, letting ideas flow without judgment:
- Phrases that capture the song’s essence
- Melodic ideas I’m hearing
- Rhythmic patterns that feel natural
- Cultural references that resonate
- Emotional declarations worth making
Testing ideas:
I stand at the mic and try different hook ideas over the riddim. I’m not recording yet—just experimenting with:
- Melodic contours
- Rhythmic delivery
- Lyrical variations
- Energy and attitude
Refinement:
Once I find something promising, I refine it:
- Simplify language if needed
- Enhance melodic catchiness
- Strengthen the core message
- Make it memorable and repeatable
The hook test:
If I can’t remember the hook after singing it twice, it’s not catchy enough. The best hooks lodge in your brain immediately.
Writing Verses
With the hook established, I develop verses that support and expand it.
Structure decision:
- How many verses? (Usually 2-3 for dancehall)
- Length of each verse? (8-16 bars typically)
- Melodic verses, deejay verses, or mixed?
Content development:
Each verse needs purpose:
- First verse: Establish the song’s premise, introduce the vibe
- Second verse: Develop the theme, add new perspective or details
- Third verse (if applicable): Bring it home, strongest statements, maximum energy
Writing approach:
I write more than I’ll use, then edit down to the strongest lines. Quality over quantity—every line needs to justify its existence.
Rhythm first:
I prioritize how words flow rhythmically. A line that reads great on paper but doesn’t flow naturally over the riddim gets rewritten.
The Bridge or Special Section
Depending on the song, I might add a bridge or special section:
- Breakdown with different energy
- Melodic variation
- Rhythmic shift
- Moment of emphasis before final hook
The purpose: Bridges prevent monotony and create dynamic variation, but not every song needs one.
Pre-Recording Rehearsal
Before hitting record, I rehearse:
- Sing/deejay through the entire song multiple times
- Identify challenging sections
- Smooth out transitions between sections
- Memorize or become deeply familiar with lyrics
- Feel confident in delivery
The goal: Enter recording relaxed and prepared, not scrambling to remember lyrics while performing.
Phase 3: Recording Lead Vocals (1-2 hours)
Now comes the main performance.
Setting Levels and Tone
The engineer sets:
- Input gain – Capturing full signal without clipping
- Headphone mix – Balance between my voice and the riddim
- Monitoring chain – Basic compression and EQ so I hear an approximate final sound
My preferences:
- I like hearing myself slightly louder than the riddim
- I want some reverb in the monitor mix for comfort
- Not too much processing—I need to hear if I’m off-pitch or timing
Recording Strategy: Sectional Approach
I record in sections rather than attempting full takes:
Hook recording:
I record the hook first since it’s the song’s anchor. Multiple takes until I capture the energy and precision I want.
Tactics:
- Record 3-5 complete takes of the hook
- Try slight variations in delivery
- Experiment with different attitudes
- Push energy levels higher than feels natural (it translates better)
Comping the hook:
The engineer and I select the best take or compile (comp) the best moments from multiple takes into one perfect hook.
Verse recording:
I record verses in 4 or 8-bar sections:
Why sections?
- Maintains energy and focus better than long takes
- Easier to get perfect performances
- Allows experimentation with different approaches
- Reduces need for extensive punch-ins
The process:
- Record 2-3 takes of each section
- Listen back critically
- Re-record if needed
- Move to next section
Energy management:
I monitor my energy levels throughout. If I’m getting tired, I take a break. Forcing performances when fatigued produces inferior results.
Vocal Techniques I Use
Layering:
For certain sections (especially hooks), I record multiple takes that get stacked:
- Main lead vocal
- Double (same melody, slight variations in tone)
- Harmonies if the song calls for it
Dynamics:
I vary my distance from the mic and intensity:
- Closer and softer for intimate moments
- Slightly back and louder for powerful sections
- Creates dynamic range and interest
Ad-libs and responses:
Dancehall thrives on ad-libs—spontaneous responses, vocalizations, and phrases that add personality:
- “Yeah!” “Gwaan!” “Weh dem!”
- Echoing key phrases
- Sounds that emphasize points
I record these separately after main vocals, going through the song and adding ad-libs where they feel natural.
The Critical Listen
After recording all vocal elements, we do a critical listen:
- Play the entire song with all vocals
- Note any timing issues
- Identify pitch problems
- Find sections lacking energy
- Spot opportunities for improvement
Punch-ins:
We punch in (re-record) specific words or phrases that need improvement rather than re-doing entire sections.
Knowing when to stop:
There’s a point of diminishing returns. Over-recording kills freshness. When we’ve captured authentic energy and quality performance, we move forward.
Phase 4: Vocal Production (30-60 minutes)
Raw vocals need processing to sit properly in the mix.
Editing and Cleanup
The engineer handles:
- Breath removal – Editing out excessive or distracting breaths
- Timing adjustment – Tightening rhythmic precision
- Pitch correction – Subtle tuning to enhance pitch accuracy
- Noise removal – Cleaning up any clicks, pops, or room noise
My philosophy: Edit for polish, not perfection. Over-editing creates robotic, lifeless vocals. I want to sound human.
Vocal Effects Chain
The typical processing:
1. EQ (Equalization):
- Remove low-end rumble (high-pass filter)
- Enhance presence in 2-5kHz range for clarity
- Smooth out harsh frequencies
- Goal: Clear, natural tone
2. Compression:
- Controls dynamic range
- Makes vocals consistent in volume
- Adds punch and presence
- Settings: Medium ratio (3:1 to 6:1), moderate attack and release
3. De-essing:
- Reduces harsh “S” sounds
- Prevents sibilance from being painful
- Subtle application maintains naturalness
4. Saturation/Distortion (optional):
- Adds warmth and character
- Makes vocals feel more aggressive or energetic
- Used tastefully, especially on hooks
5. Reverb:
- Creates sense of space
- Usually short to medium room reverb for dancehall
- Adds dimension without washing out the vocal
6. Delay:
- Creates rhythm and movement
- Often eighth or quarter note delays
- Adds ear candy and interest
The balance: Vocals should feel polished and professional but not over-processed or artificial.
Special Vocal Moments
For certain sections, we add special processing:
- Filter sweeps during transitions
- Distortion on specific aggressive phrases
- Pitch shifting for creative effect
- Stereo widening on doubled vocals
The guideline: Effects should enhance, not distract. If you notice the effect more than the performance, it’s too much.
Phase 5: Mixing and Final Touches (1-2 hours)
With vocals recorded and processed, we create the final mix.
The Mixing Process
Step 1: Balance
Setting relative volumes of all elements:
- Vocals clearly on top
- Drums punching through
- Bass felt but not overwhelming
- Melodic elements supporting without cluttering
Step 2: EQ and Frequency Management
Ensuring each element occupies its own sonic space:
- Bass and kick not fighting each other
- Vocals clear in the midrange
- High-end sparkle without harshness
Step 3: Dynamics Processing
Compression and limiting across the mix:
- Gluing elements together
- Controlling peaks
- Achieving competitive loudness
Step 4: Spatial Positioning
Using panning and reverb to create width and depth:
- Lead vocals centered
- Ad-libs and effects panned for width
- Reverb creating sense of space
Step 5: Automation
Volume and effect changes throughout the song:
- Bringing elements in and out
- Creating dynamic movement
- Emphasizing important moments
Reference Checking
We compare our mix to professional tracks:
- Similar genre and energy
- Checking bass levels
- Comparing vocal clarity
- Assessing overall loudness and punch
Multiple playback systems:
- Studio monitors
- Headphones
- Car speakers (simulation)
- Phone speaker
- Laptop speakers
The goal: The mix should translate well everywhere, not just on expensive studio monitors.
The Artist’s Critical Ear
Throughout mixing, I provide feedback:
- “Vocals need to be louder”
- “More bass in the low end”
- “That snare needs more snap”
- “Pull back the reverb slightly”
My role: I represent the listener’s perspective. The engineer handles technical execution, but I guide creative decisions.
Final Adjustments
Last-minute tweaks:
- Intro and outro timing
- Fade-outs or abrupt endings
- Special effects or transitions
- Any nagging issues we’ve noticed
Knowing when it’s done:
At some point, continued tweaking becomes counterproductive. When the mix feels right, we commit.
Phase 6: Mastering Preparation (15-30 minutes)
Bounce and Export
We export (bounce) the final mix:
- High-quality WAV file (24-bit, 44.1kHz or higher)
- Proper levels leaving headroom for mastering
- No clipping or distortion
- Clean start and end points
Self-Mastering vs. Professional Mastering
For quick releases or demos:
I sometimes use AI mastering services like LANDR or iZotope Ozone for fast turnaround.
For important releases:
I send to a professional mastering engineer who provides:
- Final polish and loudness
- Technical quality control
- Objective ears catching issues I’ve missed
- Proper file formatting for all platforms
Mastering Guidelines
What I communicate to mastering engineers:
- Target platforms (streaming, club play, radio)
- Reference tracks for loudness and tone
- Any specific concerns or preferences
- Desired final formats (WAV, MP3, etc.)
Post-Session: Completing the Process
The session isn’t over when we leave the studio.
Immediate Steps
Backup everything:
- Raw vocal recordings
- Session files
- Stems (individual elements)
- Final mixes
Lost sessions are heartbreaking—backup religiously.
Initial notes:
I document:
- What worked well in the session
- What could improve
- Ideas for future sessions
- Any follow-up needs
Living with the Track
I don’t release immediately. I live with the track for a few days:
- Listen on different systems
- Get feedback from trusted people
- Notice anything that bothers me
- Confirm I’m happy with the final product
Fresh ears: After a long session, ears get fatigued. A few days away provides perspective.
Final Decisions
- Is the track ready for release?
- Does it need any revisions?
- What’s the release strategy?
- What visual content will accompany it?
What Makes the Difference Between Good and Great Sessions
After countless sessions, I’ve identified factors separating productive from unproductive time:
Preparation
Coming prepared—lyrics written, riddims selected, voice ready—dramatically increases productivity.
Mental State
Creative openness combined with focused intention produces the best results. Stress and distraction kill creativity.
Collaboration Quality
Working with skilled, positive people who understand the vision makes everything better.
Energy Management
Knowing when to push through and when to take breaks prevents burnout and maintains quality.
Flexibility
Willingness to abandon what isn’t working and try new approaches saves time and yields better results.
Decision-Making
Confident, timely decisions keep momentum. Indecision wastes hours.
Lessons I’ve Learned
Trust the process:
Some sessions feel magical immediately. Others feel like pulling teeth. Both can produce quality music.
Quantity breeds quality:
Recording multiple takes isn’t wasted time—it’s exploration that leads to the best performances.
Technical problems happen:
Equipment fails, software crashes, unexpected issues arise. Stay calm and work through it.
Perfectionism is the enemy:
Done is better than perfect. Knowing when to finish and move forward is a crucial skill.
Creativity can’t be forced:
Some days, inspiration flows. Other days, it’s work. Both are valid. Show up consistently.
To Aspiring Artists: Your Studio Practice
Develop your process:
What works for me might not work for you. Experiment and find your optimal workflow.
Invest in skills:
Technical knowledge—basic mixing, vocal recording, production concepts—empowers you to contribute meaningfully.
Respect engineers and producers:
They’re creative partners, not technicians executing your orders. Collaboration yields better results than dictatorship.
Prepare thoroughly:
Studio time is expensive. Maximize it through preparation.
Stay humble:
You can always improve. Listen to feedback, learn constantly, and push yourself.
The Magic of Creation
Despite the technical process, there’s genuine magic in studio sessions—moments when everything aligns and something special emerges that’s greater than the sum of its parts.
That magic is what keeps me coming back, what drives me to keep improving, what makes the frustrating sessions worth enduring.
Creating music is work, but it’s work I love. It’s problem-solving, emotional expression, cultural contribution, and personal fulfillment all at once.
This is my studio process as Tray Millen—the real, unfiltered behind-the-scenes of how I create dancehall music that moves people.
Now you know exactly how it happens.
Want to hear the results of this process? Subscribe to the TrayMillen.com newsletter for exclusive tracks, studio updates, and first access to new releases. Follow me on Instagram, TikTok, and YouTube for behind-the-scenes studio content and real-time creative journey documentation.
#StudioLife #MusicProduction #DancehallRecording #TrayMillen #BehindTheMusic #RecordingProcess #StudioSession #DancehallMusic #MusicCreation #InTheStudio