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’
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.
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.
Has anyone noticed something missing from today’s recorded music? It seems that recording quality, once the keystone of captured music, may be going the way of the dinosaur. We’re not talking about the ‘lo-fi’ ethic which intentionally keeps the sound raw and immediate. What we’re seeing is a downgrading of sonic quality for a variety of mostly commercial reasons. Today’s entry covers what has become known as the ‘loudness wars’.
Simply put, the ‘loudness wars’ is the recording version of “my amp goes to 11”. It’s volume for the sake of being ‘louder’ than the song being played before or after yours. It takes place mostly in the mastering of the music, compressing or ‘hyper-compressing’ a song within an inch of its life. No concern for dynamics, subtlety or tone. Just LOUD – and who cares what gets lost in the process.
Did you ever go to a concert and have a friend who wants to practically stick his head in to the PA speakers – “this is f***in awesome, my brain almost exploded!!” Ummkay, can you even tell what’s being played? Seems strange that’s there’s a ‘world record’ for the loudest concert – you might as well stand next to an airplane taking off. There should be a world record for the highest quality sound….
But I digress. The following clip gives a pretty good overview of what the ‘loudness wars’ are about from a producer and engineer’s viewpoint.
Here’s a shorter video that really puts a visual explanation of over compressing and limiting right in front of you.
This is why I’m thankful that we get to record, mix and master our own music at ChurchHouse. We don’t have to be ‘volume whores’ and I’d rather not produce any music than have crap leave our studio.
I wanted to pass along an interesting article I read concerning some of the pitfalls you can encounter running a small studio. One of the major problems concerns the fact that a small project studio often does not have multiple people handling the work that comes in. As a result, one person may do the recording, mixing and mastering as well as filling the role of the producer. There are positives to this: less long discussions or arguments over how to proceed as well as a consistent vision for the project. But the downside is the tunnel vision you may incur working by yourself and the project burnout you can encounter as you progress through all the steps.
This article speaks specifically to ‘ear burnout’ and steps you can take to avoid it. One thing the article doesn’t discuss is the positives you have when more than one person works on a project. At ChurchHouse Studios we have taken this to heart and try to have several people working on different parts of the project, especially mixing and mastering. It has produced very positive results for us. Another tip I would give is being aware of who is mixing your music. I’ve found out the hard way that mixing engineers who were in very loud bands and never used ear protection may have lost much of the top end of the hearing and will mix accordingly (also a tip to use ear protection if you’re still playing and don’t have the headphones too loud in the studio).
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.