If you are cruising around the sites, just an FYI this blog will now be the official site for ChurchHouse Productions and the other site (Velvet Wrinkle Wreckerds) is getting some work done. If you go to either of the sites and things are looking weird, just let me know, but more than likely it is due to switching things around and will go back to normal soon. Hope everyone is enjoying Spring!!!! 🙂
The Gun Club – this is a band that I still love to listen to and even as I get older, I can’t help but still love the way it sounds, the way it’s played, and mostly – I love doing this song. We enjoyed covering this song and have given serious thought about covering more of their songs. Without further ado – here it is again, Ghost on the Highway, or GOTH as we affectionately refer to it.
This winter seems like a good time to lock myself in the studio and start to get some work done again. We’ve spent a good deal of time working on song ideas and turning some of them in to song demos. Now it’s time to focus in and work on the production tracks. Which in turn allows me to focus on the recording process from both technical and artistic points of view. As always finding a way to nail the vocal recording process is a high priority.
The first article I’ve attached is a quick and simple overview of some different methods of recording vocals. This really speaks to the performance aspect of recording as compared to the nuts and bolts tech of mics, mic placement, preamps etc.
Personally I like to record takes all the way through. It gives the singer a chance to have the full feel of the song and decide how to vocally connect the song together. But I’ve also worked parts of the song separately, maybe verses separate from chorus or separating vocal parts after an instrumental break. I think it really depends on the song and the vocalist. You have to be open to trying different approaches on different songs.
The next article discusses comping, which is mentioned in the first article (I don’t know if I’d call it a ‘little known’ recording trick) .
I think there are things to consider if you’re going to do a lot of cut and paste comping on a vocal track. If I’m going to put together smaller pieces of the vocal tracks I’d like to get them recorded in the same session. A person’s voice may change slightly from day to day. It’s not like setting up a guitar amp and then leaving the settings stand for another session. That’s not as much of an issue if you’re putting together larger pieces of the song. It’s also not as much of an issue if you’re going to multi-layer several vocal tracks on top of each other. Again, work with the vocalist and see what brings the best out of them. I think we’ll be putting down a lot more vocal tracks then usual in our upcoming sessions for both layering and comping.
Finally, I couldn’t let the passing of David Bowie go by without comment. For many of us music is much more than something we listen to. I grew up from a young age playing music and living music. It informed my life and many life choices. For those of us who grew up in that era, Bowie melded music with life and style. And showed that you could stop on a dime and change styles if you wanted to. Be fearless in your ability and right to change to whatever moved you. I picked the song ‘Heroes’ to put here because it shows the most important part of vocals – emotion. I feel the build in emotion created by the vocals in this song every time I listen to it. If you do it right it’s captured forever.
Well, spring isn’t here yet (at least in the northeast) but the sun was out today, it was over 40 degrees (whoooo) and daylight savings time has begun. All in all as close to nice weather as it’s been around here for quite some time. Spring turns a young persons fancy to…….acoustic instruments (it also helps bring some of us out of hibernation). Over the winter months we’ve been collecting instruments for the studio to add some variety to our in house recording. Pictured below are some of the items we picked up.
Not that we’ll use everything in a traditional manner. The options are limitless. As are the variety of ways you can mic, amplify or record acoustic instruments. Here’s a video with some ideas for recording banjo.
You can count on us breaking the rules whenever possible (hhmmmm – phase shifter on mandolin?). So much to look forward to.
To add to the acoustic flavor, here’s a video of Trampled By Turtles live on NPR. Can’t you just feel spring in the sound?
Hope the weather heads to spring where ever you are.
It appears that the eclectic collective Steaming Mulch has finally spit out a new tune. We never quite know what we’re going to hear, but that makes it all the more interesting. The word is that there are more song partials traveling around the studio at ChurchHouse, so we should hear the next one soon……ish. Their sense of time does not mesh well with the real world. As always your guess is as good as ours as to the origins of the title (go ahead, guess. we’ll wait…………).
In the meantime…
‘Enormous And Turbo Smooth From Diamond To Rose’
Mastering is a topic we’ve covered before. It’s the cherry on top of your overall recording, but it can also make or break everything you’ve completed before this step. I found this article to be interesting because it looks at mastering from an aesthetic view as well as a technical view. It’s really necessary not to get too hung up on the tech and miss out on listening to get the specific feel of the project you’re working on. I also like the advice to occasionally move your self out of the ‘sweet spot’ that exists in any studio setup. The sweet spot can be very specific, especially when using close field monitors. The problem is that most people don’t sit in the perfect spot for hearing the music – this is amplified when listening in an average car stereo setup. You need to expand your point of view. I also like Appelbaum’s small room setup and some sweet equipment.
Here’s a couple of short video pieces taken from a much longer video class. Again, check out the control room and some of the equipment.
Well, thought we’d throw everyone some free swag considering it’s the holidays (any holiday you believe in is fine with me). So we recorded a cover from one of our favorite bands, The Gun Club and put it on SoundCloud for you free. So you can have ‘Ghost On The Highway’ for your listening pleasure as a download (did I mention it’s free?). We had a lot of fun recording it – it’s pretty much a ‘studio live’ version. Hope you enjoy hearing it as much as we enjoyed doing it.
– Pass it along to all your friends – (hint – it’s free)
A song recording project is actually a series of very distinct steps. Writing the song, pre-production, recording, editing, mixing, mastering. General wisdom has always said you can’t fix a problem with one of the steps in the next step. Also known as ‘you can’t polish a turd’ (well, i guess you could but……..). The following article gives some great tips on how to get your final mix ready for the mastering step. It could be the difference between a great sounding final product and a ‘polished turd’. Your mastering engineer will be grateful, and studio bloodshed will be reduced.
How you print sound to tracks is the one of the first stages of the actual ‘recording’ process. There are millions of ways to go about doing this. This part of the recording process can be broken down to two overall categories to start with: do you record the sounds ‘clean’ to the tracks and do the sonic production on the tracks during mixing or or do you print EQ, dynamics and effects to the tracks during the recording process?
As always, there is no right or wrong answers. When I began my recording journey I took note of what happened in studios where I was recording and spent a lot of time reading articles (today you can include watching videos) by people considered the masters of engineering and mixing.
I’ve always loved the work of Eddie Kramer, considering the roll call of famous musicians he worked with and the fact that he is still active and working on new techniques today. He was a ‘print to track’ engineer (compression, EQ, FX printed to the track) and a lot of what I do follows that format. I do add to tracks while mixing, but I try to get the essence of the sound while I’m tracking. One quote from him about sonics when tracking:
“To start with I’m a great believer in getting the sound right then and there, put it on tape and don’t think about it anymore. I’ll print with effects, I’ll print with dynamics processing. The bottom line is if I hear a sound in my head, I’m going to go for it – I’m going to print it to tape”.
Every session will have different requirements, so experiment whenever possible. But if you haven’t tried ‘print to tape’ give it a go.
Here’s a little Eddie Kramer clip you might enjoy:
Here’s the newest single from Velvet Wrinkle Wreckerds eclectic collective Steaming Mulch. We never really know what we’re going to see from them until the song is finished. As always with our group of friends it was recorded, mixed and mastered at ChurchHouse Productions Studio. It’s for everyone who’s had to find their way out of their own personal ‘Mordor’.
Yo, Mel – this one’s for you.