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.
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’ve often shared studio set-ups and ideas on our blog and on YouTube videos. I’ve never considered what we do as ‘giving advice’. ‘Advice’ has a connotation of being an expert at something and passing along that expert knowledge…………yeah, no. We try different things and share the ones that work well for us. The important part for us and anybody who’s recording or writing music is try different things. See what works in your space with your equipment. A small change in mic placement can open a whole new sound.
I recently had the pleasure of working with three young musicians from Ohio. Very talented and very enthusiastic about doing music. Working with people you haven’t recorded with before is always exiting – falls under ‘try different things’. Had a great day recording and the mixing and mastering process worked out pretty well. Overall a thoroughly enjoyable experience. And it got me thinking about ‘advice’ again. If someone asks for ‘advice’ about what I think you need to make a good recording:
Tip # 1 (see, still not ‘advice’, just a tip)
Tip # 1 – Record a good song
Tip # 2 – Work with talented people
And there you have it. Pretty simple. I’ve heard good songs with lousy recordings – they’re still good songs. So as an engineer you try to not screw it up. When you mix, highlight the song, no tricks needed. Keep the dynamics when you master. Our recording set-up was even simple. One mic for the vocals and two for the guitar.
So in the spirit of recording good songs with talented people here’s the song we finished that day. The musician is Matthew Bock and the song is ‘Standstill’.
I certainly hope to be working more with these guys in the future. I would guess they have a lot of music in the pipeline.
Pictured below at ChurchHouse Studios Matt, Jared, Grant (l to r).
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”
I had the pleasure of seeing The Steel Wheels at the Musikfest Cafe in Bethlehem, PA on September 9th. One of the best shows I’ve seen in a long time. The band is an amazing group of musicians playing riveting and fun Americana. I’ve always loved listening to a variety of different styles of music and have played and recorded a lot of different types over the years. Over the last couple of years Americana and bluegrass has exerted a pull on me the same way punk and post-punk did years ago. The Steel Wheels show had all the points I love in that style. The instrumentation’s sonic mix is wonderful. Each instrument has it’s own voice and blends together like a vocal choir. As a result, the instruments don’t step on each other and can each be heard clearly even when everyone’s playing at full throttle. Standup Bass, guitar, banjo, fiddle and mandolin is a great mix. No real need for percussion since the style played is so rhythmic. The band also had incredible vocals and harmonies. For someone who is in to recording and sonics I loved that all the vocals were done live on one mic. The sound mix is controlled by the musicians by where they stand in relation to the mic and how much volume they give to their part. That’s not an easy thing to do, especially live. The Steel Wheels nailed it and the result gave you chills in the best possible way.
I’ve added some photos from the show and a few links to videos below. If you ever have a chance to see the band live or buy a CD I highly recommend it.
…and a live performance video…