Currently, in the studio, we are “messin’ with the music”… essentially taking songs we know, like, or think we can do in a unique way and most of all, having fun. While we do write originals, and have several in the pipeline, we like doing this as a source of creativity with a little less pressure (at least in our minds). We have some songs that we have messed with and are looking to get those up soon. Well, we won’t waste your time outlining what is in the video, take a look, and as usual, if you like it give it a thumbs up and subscribe. Drop us a line if you want to see more!
Grapevine will be a new feature we’re going to try to do on a monthly basis. It will contain info about things we come across and would like to share with our readers. Most times, it will feature bands or songs that make an impression on us. Some will be new, some may be old but we’ve just found them. We don’t do reviews. These are songs (or some other media) that we like and why we like them. It may be the recording, the song style or feel, the instrumentation, arrangement or the attitude. We may also look at videos, photos or whatever excites us at the time. Who knows how it will evolve?
Spielbergs – ‘Five On It’
Great recording, sounds kind of lo-fi style, but with all the instruments a clear part of the mix. Vocals are mixed in low enough that they have an instrumental feel, another instrument in the mix. The kind of songs I listen to cruising around backroads with the windows open singing along. Love the guitar crunch. This song is from the album ‘This Is The End’ and hearing the whole album straight through is a great listen. Some songs add a little shoegaze feedback guitar to the mix.
Strand of Oaks – ‘Weird Ways’
The songs starts with vocal and just some background guitar. Really makes you listen to the lyrics. Excellent clear vocal sound. When the band kicks in the song goes up a notch without losing the vocals. Really like the clean drum sound. The song structure works with the interlude in the middle and the kick back in to the song. Super headphone music.
I’m adding a second song from the same album ‘Eraserland’. If for no other reason – the sonics of the slide guitar. Why do I so love melancholy?
The Devil Makes Three – ‘Chains Are Broken’
My reason for this song is pretty obvious. Live. In. The. Studio. Acoustic. Does it get any better than that? So simple, so beautiful. If you can pull someone in using that format, you got it going. This version sounds a bit darker (and I do love darker) than the album version that has drums and more production. Second guitar part bites a little better on the studio version. Pretty cool that it kicks in both versions.
Hey, if you like this too, 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.
Time for another addition of ‘Messin With The Music’. Last post we spoke of our love for dark, swampy ‘Southern Gothic’ styles of music. So as we were thinking of what to ‘mess with’ next I naturally thought of one of our all time favorite bands, The Gun Club. We’ve visited them before – you can find our cover of ‘Ghost On The Highway’ on our SoundCloud site. The recording of this one has followed our same Messin’ philosophy – minimal takes, minimal mics, recording tracks straight through. The difference was this song was begging for electric guitar, lots of crunchy distortion and tons of reverb. We kept it minimal with bass, hand percussion and vocals (you’ll also hear a howlin’ surprise visit from Bonnie and Samantha).
We’re already working on the next tune in the series and it’s another bit of a sharp turn. For now, turn down the lights, crank up the volume and enjoy The Gun Club’s ‘Death Party’.
With a new year unfolding I thought it would be a good time to present some more bands that released albums in 2018 that I enjoyed and got the gears in my brain turning.
First, Parquet Courts ‘Wide Awake’. The song reminds me of much of the ‘post-punk’ funk I enjoyed from the 1980’s, like Talking Heads first forays in to that style.
I’d recommend getting the full Wide Awake CD. They play a variety of styles on the album, all of them really well done. Also really enjoyed the song ‘Total Football’. I still buy full CD albums. First, I like hearing the songs in wav format as compared to MP3s. Second, support the bands you like.
Another great album from last year was Holly Golightly and the Brokeoffs ‘Clippety Clop’. An album of stripped down covers and traditionals many of them with that old time ‘Southern Gothic’ feel. Like hand pluckin’ an acoustic guitar sittin’ on a tombstone in a cemetery at twilight (and yes, I already know I’m a bit odd). First song is ‘Horses In The Mines’.
They also do a cover of the traditional ‘Two White Horses’. You can find an early version of the song by The Two Poor Boys on YouTube. Here’s the Brokeoffs version:
As I listened to it, it seemed familiar from somewhere else. Beck did a wonderfully spooky rewrite version of it on his Guero album. He kept the basic tag line of the song and wrote his own chords and verses to come up with ‘Farewell Ride’. For years musicians have worked from old traditional songs. Wonderfully done shivers.
‘Till we meet again.
As we work with more acoustic instruments and try different techniques to record, we want to take you all along on the ride with us. Our first installment was in the post ‘Start At The Beginning’ where we worked our way through an acoustic version of Ween’s ‘It’s Gonna Be A Long Night’. In this post we take a similar path with The Cure’s ‘The Lovecats’.
We’re starting our recording journey with the most basic recording steps. Each instrument is recorded with one microphone (sometimes using the same mic and setup for multiple instrument tracks) and we’re recording one take for each instrument (other than vocals where we’ll usually have more than one track). We do some punch ins, but for the most part keep it as ‘live’ sounding as possible. In other words we’re not going to edit or digitally fix every string squeak or change in dynamics. It’s an attempt to see what we get if you go back to a time when studios couldn’t digitally enhance or ‘fix’ every little blip. What you play is what you get. As we go along through the songs we’ll describe the changes and additions to the recording process (adding electric instruments and multiple takes will come in to play in future recordings).
As you listen to ‘The Lovecats’ see if you can pick up the instruments that were tracked: acoustic six string guitar, five string banjo, six string banjo, mandolin, twelve string guitar and fretless bass guitar. Hope you enjoy our version. In the meantime, we’re already working on the next song.
– ‘The Lovecats’ by The Cure:
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.
Time has a way of passing us all by. Blink and another year passes. Close your eyes and who knows when you’ll wake up…… I felt that I was in the creative equivalent of neutral for a few years. Lots of ideas, not a lot of execution. So at the end of 2017 we decided to try something new for both the writing and recording process. Americana, bluegrass and ‘old time’ country have added a lot to our listening lists for a while now, so the idea of using more acoustic instruments made sense.
The voicing of the variety of acoustic instruments makes all of them very audible in a song mix. Two acoustic guitars might step on each other, but add mandolin or banjo and they stand out. Hand percussion. Twelve string guitar. Fretless bass. Whatever’s laying around. Oh, we’re not abandoning loud, reverby feedback guitars. Just stirring it all in. You might associate the acoustic instruments with bluegrass music but we’re not looking to work in that style. Or maybe yes. Anything’s possible.
So to learn how the instruments sound together, how to arrange the songs, how to do mic placement, what pre-amps to use, what effects, etc, etc, we decided to re-imagine some cover songs we like. Some of the songs will be quickly recorded, some will have more production. We’ll also be starting to work more with video, both ‘live’ and produced. In the mean time we’re writing and recording new original material. Stick around, it should be interesting.
First song up: ‘It’s Gonna Be A Long Night’ by Ween. Did you ever know one of those “I can drink anyone under the table” types. Ween evidently did. Times 100.
We encourage you to listen to the original versions of the songs we cover. Always good to check songs out, especially if you’ve never heard it before. Hope you enjoy it. Back at you soon.
We recently changed the placement set up for monitoring with our Yamaha NS10M Studio monitors. They were placed further away from the listening point and sound panels were placed at equal distances beside and behind the monitors. The idea was to get a wider stereo feel and to equalize the reflection surfaces around the speakers.
We do use other monitors during the mixing process but I like using the Yamahas for the initial mixing. For quite a while you couldn’t see a picture of a recording studio without seeing a pair of NS10s by the mixing console. Some people love them and some hate them. I like them but you have to know their strengths and weaknesses and use them accordingly. If you’re interested in more of their history, here’s an article from Sound On Sound that has a good discussion of their background:
Since the placement was changed, that meant it was time to redo the room tuning for them. Ahhhh yes, the joy of a night of listening to pink noise. So I broke out the real time analyzer and got to work. Make sure that the mic for the analyzer is positioned in the spot where you’ll be sitting – near field monitors have a tight listening field and accuracy matters. The sound from pink noise will fluctuate, so you have to study the levels while it is running then review the peak capture when you turn it off. Here’s the running sound and peak capture when the EQ going in to the monitors is flat:
NS10Ms tend to be weak at the low end, so the EQ is adjusted accordingly. The process takes a while since when you adjust one frequency it effects the frequencies around it. The final EQ setting looks like this:
Here’s the running sound afterwards (remember running sound fluctuates, so a snap shot at a particular time will not look flat):
The final shot of the peak captures gives a good representation of where we ended up:
I’m pretty comfortable with the flatter EQ at the end of the process. One other tip is to make sure you are hearing equal levels from both speakers so you don’t overload one side when you’re mixing. The real time analyzer should let you get actual equal volumes for both sides. I have some volume hearing loss in one ear – the result of playing in bands for a lot of years (fortunately it is not frequency loss). To check on this take one channel of the song you’re mixing and run it straight down the center of your stereo field while sitting in your perfect center listening spot. If it sounds like it’s coming more from one channel or the other, make the adjustment on the volume of your reference amp. It’s at the end of the sound chain so it equalizes volume for your ears without effecting the balance in your actual mix. I also check the final mix of songs through the Real Time Analyzer so I’m using sight as well as sound to get the frequencies where I want them.
After the NS10 mixing is completed we’ll make any mix adjustments and also do the mastering through the higher end monitors set up in a different listening station. It’s always important to take your time, ‘put the mix down’ and come back to it later for review to get the best results possible. A great song will shine through no matter what, but a great mix will always improve your song.
And because I like to leave a little music for you……..
Father John Misty – “Ballad of The Dying Man”
One of the great things about music is the way it can generate emotions and trigger memories and feelings. I’m particularly drawn to songs that bring out feelings of melancholy. Although melancholy is usually defined as sadness, often with no obvious cause, I also consider the feeling as nostalgic, flooding back memories from days gone by. Do you have any songs you listen to that can bring you to tears? Or bring flashbacks from past experiences? If you really analyze a song that does that for you, is it the chords and notes played? the chord progression? the vocal style? the lyrics? I’ve included three songs I really enjoy that do this for me. Different styles, even different eras, but they wash over me like a river and do what music does best: bring out feelings and memories.
First a song from Kurt Vile, ‘Pretty Pimpin’, that has all the things I love, great finger picking chord progressions, lyrics that make you ponder about your day to day life and a nostalgic feeling of what is my life about and what could it be?
Next a song from Wolf Alice, ‘Moaning Lisa Smile’. Ever feel different, like an outcast? Personally I strove to be an ‘outcast’ in my younger years. I love the feeling of being part of something that most people don’t connect to. Being part of a tribe. Great shoegaze style guitar in the song. Also love the videos of the these songs. I think they do a great job of matching the visuals to the music.
Finally, a song by The Replacements, ‘Unsatisfied’. This song came out at a time my life was in turmoil and seemed to encapsulate everything I was feeling. If you’re not familiar with The Replacements and the album the song is on, ‘Let It Be’ I highly recommend taking a listen. The entire album is a gem. It was the soundtrack of my life for a few years. Listen to the lyrics and tell me you haven’t felt this way at some point in your life.
As a songwriter I live to compose songs that carry this kind of weight. Hope these songs strike a chord in you. Fell free to share any songs with us that do this for you.