It’s been a while since we did an In The Studio episode. We had some live performance ideas started, but as with much of our lives, that’s temporarily on hold. So I thought we might do some more episodes that simplify studio tech as we did with micing the snare drum. A good place to start would be with a quick overview of the studio. You’ll have to excuse some of the noise in the video – it’s literally live with me picking up the camera and moving around, no post recording editing. You know us – we love running it ‘live’. If you have any questions, comments or topics you’d like to see discussed in future episodes, let us know. So let’s get started……….
Below are some photos referenced in the video. This will give you an idea of how the main control room setup is changeable depending on the task. First two photos are of different mixing/mastering station setups.
A couple of photos of setups using the movable sound panels – Vocal booth and amp separation.
And finally a couple of photos of setups in the big room. All the mic signal goes back to the main control room in to the patch bay shown in the video.
So we’re at the end of another year. Seemed much longer than a year. As always there was good and bad; ugly and beautiful. This was a year when I decided to consciously cut back on the ‘noise’. All the stuff swirling around that destroys creativity. Sooo……Newspaper – dropped. Cable TV – dropped. Staring at phone feeds – ehhhh…..work in progress, but improved. Have a basic idea of what’s what without drowning in it. There’s so much to do musically and with the site, and I needed some energy to work on it.
So my wife Lorena and I ventured to the national parks to do some hiking and photography. Two weeks in the parks works better than years of meds or therapy for me.
I even got to work on my ‘dislike’ of heights. Seems if you add jaw dropping views, my brain tends to ignore the height.
So when we returned at the end of September, I got back to work. Three features that were started – ‘Grapevine’, ‘In The Studio’ and ‘Messin’ With The Music’ will continue in to 2020. We’ll see what else we come up with. There are a bunch of new Electrostatic Rhythm Pigs original songs in the works. We may even get a new tune from Steaming Mulch. And we’d like to get more eyes and ears on ChurchHouse Productions. More contact with like minded folk (hint – tell your friends).
So ends our yearly update. Hope your 2019 was great and your 2020 will be better.
Welcome to Episode 8 in the ‘In The Studio’ series. Today’s topic is how to create mixing options for yourself during the recording process. A couple things to add about the process in the video. In the video the guitar sounds you hear have not been EQ’d on the mixing board. You can magnify the differences in sound by tweaking the EQ on each microphone using the mixing board. You can also add more diversity by adding effects units in the line between the guitar and amp (this will make more sense after you watch the video). As always if you have any questions or ideas, let us know.
The idea of an ‘Inspiration Point’ always reminds me of standing on the edge of a canyon and looking down at the beautiful scenery below. Or shouting in to the canyon and hearing an echo come back. Here’s an In The Studio version of our indoor inspiration point (Episode 6):
We also have three new ‘Messin’ With The Music’ songs in production and hope to have something out soon.
Just wanted to throw out a few thoughts on some items I think deserve some ink. The kind of wonderful distractions from the ‘real world’ that keep me going.
Always a great pleasure to drop in a new track from The Record Company. For your listening pleasure, ‘Life to Fix’:
An introduction to some of the invaluable staff at ChurchHouse Productions. I’d like you to meet our ‘in-house’ Public Relations staff:
She’s been a wonderful greeter and is a 24/7 studio pup. Bonnie loves to spend time in the mixing room.
And never hesitates to let me know what she thinks of a mix.
I believe the feedback was “I’m outta here…”
Besides being the owner of the famous ‘hound howl’ she’s a fanatical lover of David Lynch movies.
Although the aftermath of her watching a movie puts her in a bit of a ‘Lynchian’ mood (“this bed belongs to me now”).
Love them both and ChurchHouse wouldn’t be the same without them.
Shout out to a wonderful, old fashioned record store in Jim Thorpe, Pa, Soundcheck Records. The kind of place I grew up with and sadly are hard to find in today’s world. Let’s cross our fingers that vinyl and stores like this make a big comeback. If you’re up in Jim Thorpe it’s a must to check out.
We’ll be rolling out another song at the end of September. We’ll keep the title a surprise until then but as with the last song, we sort of broke it down and did some rebuild. Gotta have some fun.
When you begin to work on recording in your personal or project studio, what do you think is the most difficult instrument to record? All instruments (including voice) have their challenges. I think many people have found that recording live drums presented the greatest challenge. There are so many microphones, placements and techniques that it can seem a bit overwhelming at first. As with many parts of the recording process, there is not necessarily one correct way to record. You can use two room mics or multiple room and direct mics. As the recording capacity of ChurchHouse increased, I’ve used as many as thirteen mics to get the sound I want. I don’t necessarily use all the tracks in the final mix, but it’s nice to have options.
There’s a lot to consider. What type of mic is best for each piece of the kit? Where do want to place them? The drums need to be tuned correctly for recording, which will probably be different than tuning for a live show. Then there’s the ‘800 pound gorilla’ of the process – the room you record in. The room can make all the difference. In fact it can make THE difference. Some studios are known just for their drum rooms. We’re lucky enough to have both a small, ‘tight’ room that absorbs sound and a large open room with lots of natural reverb.
I’ve included a few articles about basic drum recording that I thought were a pretty good starting point. The bottom line in recording drums is taking the time and experimenting to see what works best for your drum set, equipment and recording room.
I want to share a recording technique that I read about when I started studio work and have used during sessions over the last several years. The idea is to track one guitar performance and end up with multiple tracks with different sound qualities.
To do this we have the guitar running in to two separate amplifiers – to get the best variety use amps with different sound qualities. For the example in the photo we’re using a Peavey amp on one side and a Mesa on the other side. Make sure the amps are separated so there is no bleed over between them. Each amp’s sound will be captured by three microphones. In our example we are using two dynamic mics close to the amp and one condenser mic slightly farther away on each side.
Each mic will go to a separate track in the recording software as seen in the photo below. You now have six unique guitar sounds you can use throughout the song. In our example we split the guitar signal going to the amps with a stereo chorus effect to allow for a greater stereo field when panning tracks left and right.
In the final photo below you can see how we used the diverse sounds throughout the song, bringing in different mics during verses, choruses and breaks. You can now accent different parts of the song with unique sonic signatures while maintaining a consistent guitar performance.
If you have enough tracks on your mixing console you can enhance these changes further using different settings of EQ, dynamics and effects on each track. This simple set up will provide you with multiple guitar sounds to make your track sonically interesting.
How many of you have looked at CDs of older material and saw that they are labeled as ‘remastered’ or ‘digitally remastered’? I know when I first started seeing this, I wasn’t sure exactly what that meant. I understood the mastering process, but ‘remastered’? I’ve attached below a Wall Street Journal article that gives a short and relatively simple explanation:
When ChurchHouse Productions studio first began doing business, we used to send our completed mixes out to be mastered at other studios. This can be quite an expensive proposition. We now do all this work in house. Our mastering capabilities were greatly enhanced when our ‘Master Of Mastering’ (and all other things recording) Barett Krause joined the fold at ChurchHouse. He sent this link to me and I wanted to share it with you.
I find that Autumn is my favorite season to write and record new music. It has that cool ‘end of the day’ sunset feel. I like to throw ideas down on a small digital recorder – I find that if I go in to the studio with a song idea I can get caught up in the tech of recording and lose the first feel and vibe. Of course we also do a lot of initial studio work – right now we’re mixing down new songs and finding new artists to work with. Hopefully we’ll be debuting some new artists on the blog in the near future.
At the moment we’re dealing with the frustration of the storm aftermath in the Northeast – four days without power and counting (we have a generator so I can at least get on the PC, but I wouldn’t try to run the studio with it). We had the same problem last year – big storm, no power.
Oh well, back to the handheld digital.
I eliminated that damn hum – bad wire. That will be my next purchase.