We’re back with another remastered version of a song by Steaming Mulch. This song is a bit different from the last two Steaming Mulch tunes we did recent posts on. The band doesn’t worry about maintaining any particular style. Different songs sometimes have different musicians sitting in to add a new flavor. This song has live drums (which are wild just on their own) with guitars, bass and some muted vocals (no movie clips here). Much of this song was recorded live. The players were in a room together to facilitate their ability to interact when playing. The drums were recorded using direct and room mics in the main studio room with the bass and guitar amps placed in other rooms in the studio to eliminate the amp sound bleeding in to the drum tracks. There were some overdubs completed afterwards, such as the vocals, but the main part of this song is pretty much a live take. I remember this recording as being incredibly loose and fun. Also challenging as doing any kind of ‘live’ recording is. Enjoy.
In November we received a new track from Steaming Mulch. During that recording they said that they are working on new tracks for 2021. It had been quite a while since their last recording. Since many of their recordings were from a few years back, we felt that our current blog viewers might not be familiar with their older work. So we decided to remaster and post their older tracks. When you remaster a song, you go back to the previously finished song mixdown and tweak it using EQ, compression, limiting and other tools. One reason is to make the final product fuller and more in line with other tunes on an EP or album (we’ll probably do a full mastering post in the future). For a single song this may come down to compressing and increasing volume so it sounds fuller on internet or radio formats. Since we had mastered the song at ChurchHouse originally, we made some minor changes just for fun. We’re starting with ‘Escape From Mordor’. This was a shorter track, but like their last track it contains some fun movie dialogue along with the music. As before, I won’t give away the movie sources so you can catch them for the first time while listening.
The end of the year is considered ‘the holiday season’. Honestly, hard to find much ‘spirit’ with all that is going on this year. So I thought I’d share something I watch on the internet when I’m down that makes me smile. It’s not musical. It’s from an animal rescue operation that saves foxes and other animals (check them out at saveafox.org). I just can’t stay down when I watch Finnegan and the other foxes laughing and romping around. People who do animal rescue totally rock! Happy Holidays!
Our friends from Steaming Mulch have returned from the ether with a new track called ‘Hasten The Unglued Shadow Appears’. It was good to have them back in the studio. We’re also fortunate because of the way they like to record. They plan out the track well ahead of recording so everyone can show up individually, making it easier to record safely in our current environment. It’s been quite a while since their last recording, but once you start working, it’s like no time has passed. They’ve also said they have other tracks in mind, so hopefully Velvet Wrinkle Wreckerds won’t have as long a wait until more music appears. As they’ve done in other songs, this track also has some fun movie clips in it. But I won’t spoil the surprise. Enjoy.
Episode 13 of our In The Studio series discusses how to record electric bass guitar. When you’re listening to the video, there are a few places where we give sonic examples of the different methods. All of this video was recorded directly to the GoPro camera, including the sound. The ‘amp sound’ is a live amp in the room. The ‘direct sound’ is being heard live in the room through the studio monitors. As a result, the differences in sound you hear on the video aren’t as great as they would be if you heard them after were tracked in the recording system and played back. Keep this in mind if you’re listening and trying to decide what type of sound you might want. Also remember you can do more processing on the sound after it is captured – either before or after mixing. As always, questions and comments are welcome.
For today’s post we’re Messin with another song for you. This time we’re taking on ‘Shout’ by Tears For Fears. The song first came out in 1984 on Tears For Fears second album, Songs From The Big Chair. It became one of the most popular and recognizable songs of that era of music. One of the best fist in the air, sing along choruses you’ll find. As I’ve said before we always pick songs we like to cover. I don’t think you can do an interesting cover unless you have some type of love for the song you’re working with. But you also have to be able to do something different and interesting with the tune. For ERP I don’t see the point of trying to do a note for note copy of a song. Who wants to do a ‘not as good’ exact copy of a song you love.
For ‘Shout’ it was easy to do something different. The song has a pretty ‘electronic’ sound to it, along with the drive from a full drum kit. So turning it acoustic gave it us a lot of choices. The basic foundation of the song was built on twelve string acoustic guitar. We did two tracks of that and panned them to opposite stereo channels. The other thing that gives these guitars some push and pull is that they are not completely identical throughout the song. If you’re wondering about how song arrangements are created, this technique is something to keep in mind. Before there were large multi track studios, you had to really think about how to place tracks in the song. If you listen to some Hendrix songs you’ll hear drums in one channel only and guitar or bass only in the opposite channel.
So for ‘Shout’ we used the two takes of twelve string guitar, mandolin, banjo and bass. There’s also some acoustic slide guitar and a second mandolin in the instrumental parts. For rhythm we used tambourine, washboard, wood block (the wood version of ‘More Cowbell’), egg shaker and a rattler that sounds a bit rain stick. We did four tracks of vocals, two for the verse and two for the chorus. The point is to highlight the vocals and lyrics. This was a one mic recording. We used the new ribbon mic for everything (see In The Studio – Microphone Basics). I’m pretty happy with the results.
Electrostatic Rhythm Pigs cover ‘Shout’ by Tears For Fears:
When we did our last video for In The Studio we discussed the basics of microphones. Part of that discussion was that microphones were one of the entry points for inputting and capturing sound in your system. Today I thought we’d do a post discussing two of the next steps of ‘the chain’ (really two possible options for the next step of sound capture). My usual next step for capturing sound from a microphone would be to run them in to an outboard microphone pre-amp and then in to an outboard compressor. This is my personal choice as my mixing boards have inboard mic-pre-amps and compressors that could also be used. Again, we’re going to discuss this in relatively non-technical terms so anyone can have a basic idea of what the equipment does. I’m also not recommending specific brands or models. They all have their strengths and weaknesses and that’s a whole separate discussion.
Let’s start with the mic pre-amps. The simple explanation of a mic pre-amp is that it increases the signal from the microphone so that you have enough signal volume to get a good sounding recording. Let’s look at the pre-amp below:
This is a two channel unit so we’re only looking at one side. First, it has a button to activate phantom power. As we discussed with microphones, condenser mics put out less voltage than dynamic mics, so we need to use phantom power to add that voltage. If you use a separate phantom power unit in line before the pre-amp, you won’t need to activate this. The pre-amp has a dial where you will determine the volume added to the signal going in to the unit (Input) and a dial for adding volume to the signal leaving the unit (Output). The amount of power added to the input is measured by the LED lights at the bottom right and the output power is measured by the needle display in the upper right. You also have a button labeled ‘Gain’ where you can boost the input signal by another 20 decibels. You have a button to reverse the signal phase (if you want to know about signal phase, dig in our archives for the video on recording a snare and phase cancellation). The ‘HPF’ button is a high pass filter. You can use this to ‘roll off’ at a certain frequency – we’ll save a deeper explanation for another time.
This mic pre-amp is a little more high end and allows you to be a bit more specific in adding signal to certain frequencies. These are the toggle switches and dials to the right in the photo. Other than that, the mic-pre works in the same fashion.
After the mic pre-amp, the signal is sent to a compressor. The basic function of a compressor is to regulate the volume peaks of the signal before it moves to the next step. This can keep the signal from ‘clipping’ and adding audible ‘pops’ to the track if a volume peak is too loud. Let’s take a look at one and go through it’s options.
Going left to right. ‘Threshold’ determines at what volume the compressor takes hold of the signal. The ‘Ratio’ determines what the unit does with the volume once it reaches the Threshold. If you select a Ratio of 4:1 it means that once the volume level hits the Threshold, the compressor will allow the output to increase by 1 decibel for every 4 decibels of actual volume. The ‘Attack’ determines how quickly the compressor applies the Ratio and ‘Release’ determines how quickly it stops applying the Ratio when the signal drops below the Threshold. When you apply compression to a signal, you will reduce the overall top volume. The Output dial allows you to make up for this by increasing the overall output from the unit. Finally, this unit also has a ‘Gate’. The Gate allows you to select how much volume is needed to allow the signal to pass through. For instance, when you are recording a vocal, you don’t want anything from the mic to pass through when the vocalist is not singing. You would be picking up unwanted background noise. The Gate shuts off the signal when there is not enough volume going in to the mic. The ‘Rate’ dial allows you to adjust how quickly the gate takes effect.
The compressor in this photo also has a limiter (far right), which means that beyond applying the Ratio, you can set the compressor to cut off the output signal totally at a certain level.
Above and beyond controlling the signal level, mic pre-amps and compressors are used to add color, depth and tone to the signal you are putting through them. Mic pre-amps can use tubes or solid state circuits to accomplish their goal. They can run from affordable to incredibly expensive. Each type will add their own flavor to the sound you are recording. Compressors have been used as an effect to give certain sonic qualities to an instrument – you can find lots of info about using heavy compression on snare and kick drums to achieve a specific sound. Compression can be added at many stages of the recording process. You can add compression to tracks already recorded in the software. You will usually add compression to the final mix to even out the overall volume of the music.
We’ll continue to move through the recording chain in future posts. As always, let us know if you have questions or comments.
Our love of doing covers of our favorite songs isn’t new. We were messin’ with songs long before we started the current ‘Messin’ With The Music’ series. I thought I’d dust off one of my favorites for people who may not have seen it when we first put it out. Joy Division was a band that always had special meaning for me from the first time I heard them in the ‘punk’ era. Everything about them was different, from playing style, song structure, vocals and the way the instruments were used. Lyrics that had more depth and feeling than most. We went with ‘Isolation’ because of it’s great rhythm and bass line. Joy Division’s version used synths. We decided to do ours with guitar. The instrumental break sounds like a keyboard but is actually a fretless bass played through a bunch of guitar pedals. The mix and mastering worked out the way we wanted. We also were really happy with how the video turned out. I’m still happy every time I watch it.
So, from the vaults, Electrostatic Rhythm Pigs cover Joy Division’s ‘Isolation’:
This episode of In The Studio describes the basics of microphone functions and the different types of microphones. As with most episodes of In The Studio, I’ve tried to keep this from being overly technical. Since there are literally thousands of YouTube videos and blogs that are made for tech heads, I wanted to put out content for people who may not be deep in to the subject, but are interested in how recording studios work. So this video is set up like a conversation between me and you. This video is straight from the camera without editing software. As always, please feel free to comment or ask questions – discussion is always welcome.
So we’re rolling in to the second half of the year. Other than being hotter, hard to tell one month from the other this year. Same shit different month. After this could you imagine the idea of surviving in your basement for years if ‘the bomb’ dropped (Pretty bad when you reminisce fondly about the Cold War – the good old days when we were all in it together). So what does this have to do with this month’s selections? Nothing. Except that ‘quarantining’ gives me a lot of time to listen to new music. Yes, yes, I’m straining to find a silver lining……
First Up: Stephen Malkmus – ‘Xian Man’
Stephen Malkmus has been around a while. Originally known for the band Pavement (if you haven’t heard their ‘Slanted And Enchanted’ album, you should give it a listen) then for solo work and Stephen Malkmus And The Jicks. He’s covered a lot of ground. I always liked the ‘garage’ looseness of many of the songs. This song has that type of feel. Most of the foundation is acoustic and that part of the arrangement holds down the flow and feel of the song. There’s a great psychedelic guitar rambling through the whole song as well as slide guitar. The guitar solo in the middle of the song uses these multiple guitars to good effect for a loose jam feel. Even the vocals carry the psychedelic, loose feel. Also hits my favorite mixing style – everything is audible but has it’s own place in the overall mix. Great ‘creates a mood’ song.
Next Up: Public Practice – ‘Cities’
A lot of things connected with me as I listened to this song. Let’s start with the recording. Great snare sound: crisp, snappy and it really cuts through the mix. You can pick out the actual snares in the sound. The hi hat also has a big presence. The bass sound has plenty of top end – if you listen to it in the beginning of the song you can hear the great tone they get. The guitars then drop in. If you listen through headphones you can hear the different guitar parts split in to the right and left side of the stereo field. The tight, top end capture of the recording provides a lot of separation for all of the instruments including the vocals. Definitely captures the post punk funk feel. I’ve been listening to a lot of Talking Heads recently and this tune has that type of feel. There’s several ways you can go with vocals in a song. You can bury them a bit in the mix to use them more as an instrument and make them more ‘mysterious’. Or you can make them tight and out front so you can really understand the lyrics. This song uses the latter. Finally, the little synth and vocal background additions add variety to keep the interest up.
Finally: Mayflower Madame – ‘Vultures’
So let’s go a little darker for the finale this month. If you wanted to categorize, could be under ‘Goth’ (a term I might use to describe a wide variety of styles) maybe an off-shoot of ‘Industrial Dance’. Could fit under ‘Post Punk’ eighties style. I like the dynamics of this recording. The instruments in the song don’t sound computer generated. If you listen and pull it apart you can listen to the guitar line, hear the bass line as a separate piece etc. And for me, they sound like people actually playing instruments. A real clear place to hear this is at 1:59 where the song breaks down and is built up piece by piece. You’ll hear each instrument come in. In a style that’s usually deep in programming, that’s a nice change. And it all gets dunked in a deep vat of reverb and delay. I admittedly like that sound, but it could turn a song in to mush if not handled correctly. An example here is the kick drum. They got the tuning, mics and EQ set up to really capture the top end ‘slap’ so the kick cuts through all the reverb and drives the song along. The video continues that feel. And……….would it go on the dance CD for ‘Blacklight Nite’? Absolutely.
Retro: Blind Faith – ‘Can’t Find My Way Home’
No need to over analyze this song. I imagine most people have heard it. In certain emotional moods I go back to classics that have always touched me. There are a lot of great songs out there and they’re great for different reasons. This song has so much emotion and it’s created by the vocal melody. That’s one of the rarest feats to pull off in song writing. And it gets multiplied by Steve Winwood’s amazing vocals and lyrics. There’s many ways to interpret the lyrics, literal and spiritual. For me it touches the despair and sadness I feel about what’s happening now. Life is too short for anger, hatred and the people who promote it. The older you get, the more you realize it.
But I’m near the end and I just ain’t got the time
And I’m wasted and I can’t find my way home.
Welcome to another entry in our Messin With The Music series. The recording of this song comes with an interesting history. ‘How Many More Times’ is a Led Zeppelin classic from their first album. It is also the first song we actually recorded for the series. Electrostatic Rhythm Pigs, like most bands, has gone through a number of band member changes. We had spent a lot of years always trying to have a full band together that was capable of playing live. Each time someone would leave or a new musician came in it’s practically like starting over. We had electronically released our ‘Celebrity Prostitution’ EP, staying with a garage rock, punk blues sound. This time we decided to just work on our own and concentrate on recording. The question became – what style of music should we do? On many sites or internet radio when you post a song you’re asked to pick a style of music it represents – usually from a drop down list. It’s difficult to categorize yourself. I’d much rather let someone else make that call. We’ve never stuck to a very specific style, although I guess you could put it generically under ‘rock’. So, just for fun, we decided to create a category and try to fit some music in to it. Thus was born Dark Americana Shoegaze. We wanted to work on figuring out instrumentation, arrangements and recording. We thought the best way to do this was to start by covering songs (although we do have a number of originals in various stages of completion). That way we could concentrate on aspects other than writing the song – and we’d get to play songs we already really liked.
We didn’t have any pre-conceived recording methods yet, other than keeping a ‘live’ feel – no autotune, no quantizing of drums or other instruments, no cut and paste of parts. With that in mind we got to work on ‘How Many More Times’. There was a lot of structural change to do. We certainly couldn’t copy Led Zeppelin’s eight minute and twenty eight second version. So we cut it down to a number of shortened verses, did a short piece to represent the long instrumental in the middle and another section for ‘The Hunter’. To keep the Dark Americana Shoegaze idea some verses are electric guitar based, some acoustic instrument based and some a combination. The vocal tracks tie all the different parts together. To get a big, full sound most of the instruments and vocals were multi tracked with multiple mics. If you listen you can hear a number of different electric guitar sounds, two bass lines and multiple banjo and mandolin tracks at different parts of the song. We stacked a lot of vocal tracks. When we finished recording we were looking at forty eight tracks. This was going to take a while to mix and master. We decided we wanted to get a song out quickly so we picked another song – ‘It’s Gonna Be A Long Night’ by Ween and moved to what became our more standard method to put it out quicker – one mic, one track for most instruments. That went well so we picked another song, then another, then another. ‘How Many More Times’ went on the back burner. When the pandemic put our recording on pause it seemed like a good time to finally put this song together. I will say that this is probably the ‘strangest’ cover we’ll ever put out, so it may be a ‘love/hate’ experience for listeners. Might do another Led Zeppelin tune in a bit more straight forward fashion in the future. It was certainly an interesting experience mixing it. So here it is. Hope you enjoy it. As always we encourage comments, feedback and suggestions.