Archive for the Music production Category

“Discourage Wolf” By Sayonara

Posted in Exclusives, Music, Music production, Video with tags , , , , , , , , on March 26, 2011 by C54

“Discourage Wolf” is the recording début of Texas duo, Sayonara.

Formed officially in August 2010, Sayonara is the musical love-child of bassist/singer Debbie Pucek (Back After Dawn), and former WorldWideRiot guitarist/bassist/singer, Sean Blythe.

Sayonara is still writing music for their upcoming EP for Lilypad Records and they will be heading back to Chicago in June to continue recording at Couderay Music with music producer, Kerry Kelekovich.

Debbie Pucek: guitar & vocals

Sean Blythe: bass, keys & drums

+++++++++++++++++++++++++

My interrogator leaves me threatened
Only when he asks one question like,

What happens when the box stops ticking?

I’m in no state to tell
Don’t feel bad (I’ve got no guts)

This is the part when all deflections cease to amuse you
Maybe we should call it off and blackout like we always seem to

No one except for me gets in my head
I’m surprised you ever thought you could
Don’t take it the wrong way
It’s just the way I operate

How can I put it so you’ll understand?
There’s no end to everything that is
No single thought, emotion or thing you’ve lost
No word or touch or love that feels dead and gone

We are two blind Alpha wolves
Pouring out from a red light
Both worthy of this good fight
Over all the things that remain under the breath of all the others

No one except for me gets in my head
I’m surprised you ever thought you could
Don’t take it the wrong way
It’s just the way I operate

How can I put it so you’ll understand?
There’s no end to everything that is
No single thought, emotion or thing you’ve lost
No word or touch or love that feels dead and gone
The woods seem so much darker when
The moon is being pulled by something
But the sun is there
But the sun is near

lyrics by Debbie Pucek

 

Recorded on February 26, 2011 at Couderay Music in Wonder Lake, Illinois.

Produced, mixed & mastered by Kerry Kelekovich.

 

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Sayonara’s Sound: A Labor Of Love

Posted in Band Biz, Music, Music creation, Padcasts with tags , , , , , , , , on March 13, 2011 by C54

 

Sayonara's début singles are in production (photo: Mike Hanna)

Wylie, Texas duo, Sayonara, now in production in the Couderay Music studio, have two songs primping for their release as singles and two more stripped-back, acoustic numbers for a podcast on my music show, The Pad.

After a whirlwind weekend at the end of February which acted as an introduction, session and dinner-date, the band and I are well on our way to conquering the micro-niche world of music. Sean Blythe has spent a fair bit of time with me in the studio (after we worked together with his earlier outfits, WorldWideRiot and Hollus) so this meeting was not completely new. But it had been a few years, things change and all that… But, like riding bikes & horses, bands and producers get back on their preferred mode of transport and, when the results are excellent, ride off into the sunset together.

It won’t be long before Sayonara’s material begins to surface in the blogosphere, twitterverse and social networks of your choice. You can listen to their home demo of Kidnapped (which I beefed up a little for them) at my Lilypad page here. You might also visit the band on their Facebook page here and get tweeting with them here. We had our very first chat via Skype yesterday and that signaled the start of our introductory “padcast” with Sayonara coming soon.

Record Store Day 2011 looks poised for another fun gate-crashing by Lilypad Records, The Pad and our friends joining in the ruckus. Huzzah!

Vocal Tips For Vocalists Paying Their Own Way

Posted in Audio Department, band performance, Music production with tags , , , on February 18, 2010 by C54
TLM103

A Neumann TLM 103 warms up before vocal duties

I’ve always said, who knows more about singing than the vocalist?

OK, if you’re a recording engineer or music producer, breathe… chortle… repeat. This is for the vocalist reading this, not YOU!

I know, YOU have had vocal training. You did six hours of yoga, practiced for six weeks BEFORE you booked your time, quit smoking cold-turkey without a patch or a stick of foul-tasting horrible-ness and hydrated with six ounces of room temperature water from a filtered system, NOT a plastic bottle. You even brought your own rug to stand on. Congratulations! I’m impressed and you’re bulletproof.

Might I suggest:

Consider the microphone

With all of your ability and education, have you also learned something about microphones in the process?

  • Where is YOUR sweet spot on the microphone in front of you today?
  • Ever sing into that brand, model or pattern before?
  • Or, ever sing into that preamp/compressor/whatchamacallit for that matter?

I know, I know – that’s what the engineer/producer/label guy is for, right? Bull!!!

I’m not saying you need to carry a soldering pencil and rewire mics for phase problem solutions, but if you’re in a studio, and the mic in front of you is unfamiliar, will someone be there to guide you? An engineer is often compelled to help but remains silent for fear of crossing the producer-engineer line in the sand. And the producer is probably assuming the engineer will notice placement and proximity matters. (At this point, these are probably not issues, yet.)

Knowing something about design — dynamic, condenser, tube, ribbon — for instance, or, the corresponding reception pattern chosen (or fixed) to a particular microphone — omnidirectional,  hyper-cardiod, figure-eight, etc. — WILL be a huge plus.

How you stand, breathe and move can often be more important to YOU, the performer, than to the recordist, who is frantically trying to compensate for problems in areas concerning working distance, off-axis coloration and timbre that you have created with your proper technique. I am NOT saying you need to be the expert. I AM saying you need to know when the microphone is adding complexity to the equation for YOU and do something about THAT.

Things like backing off the microphone can be more than a pro-maneuver executed by a skilled singer, it can be a game-changing performance detail creating improvement OR diminishing success. Understanding how the mic responds to your vocal delivery is just as important as the spec sheet details studied by everyone concerned. That takes experience and/or guidance. If you’re not paying for recording-technique lessons during that vocal session, why not be as prepared as you can be? The money you save may be your own!

Since I am not here to write a book, I’ll stop now. I will concede that the preamp, EQ and compression settings used will probably be the engineer’s preferred territory. And, you never know who’s who and what’s what if you are totally in the dark about these things or in the dark about who’s behind the glass.

Also, I am NOT saying to worry about someone else’s job more than your own. If you are not a “people person” or an expert, this is a delicate area of recording to approach at the best of times, let alone in the heat of battle.

I am considering continuing on in this vein, in later postings, with details on proximity effect, reception/rejection, pop filters and roll-offs, etc.. I think I’ll wait a bit to see where the ‘plosives blow me. Or you.

In the meantime, go ahead, sip that vintage whisky whilst smoking that filterless Gitanes. Choke down that greasy double-cheeseburger minutes before pressing record. Ignore all suggestions because YOU know better (or your vocal coach does). Chances are, no one bothered to discuss the single most important element of capturing your performance (AFTER you are factored into this equation, of course).

While I would never say the best microphone choice will save a poor performance or bad technique from ruining the overall results, I will say knowing as much about using one (and thereby maximizing your results) may be more important than that smelly rug you dragged along with you. And HEY! — you’re paying by the hour. The engineer is probably enjoying the bonus, right about now.

Sampling The Dead

Posted in ©opyright, Music, Music production with tags , , , , on January 25, 2010 by C54

No, this isn’t some necrophilia cookbook. It’s Animal Collective’s newest single, “What Would I Want? Sky” featuring a little Phil Lesh snippet from the Grateful Dead’s song, “Unbroken Chain” — advertised as the first legally-licensed GD sample. That in itself is a bit ironic since deadhead tapers have been sampling Dead shows for decades and no one seemed too bothered by it.

And since I’m not a big AC fan, at least not until 2009’s Meriwether Post Pavilion, I was a little startled to find myself happily slipping along with this one. A nice pastiche of technology and organic song construction that waits a while for the melodic payoff. Once again, AC’s defying the traditional song structure used by songwriters, now and forever. This is a live BBC version and some might prefer the warmer studio version from the new EP, Fall Be Kind. Or not.

For songwriters struggling with structure, the question remains — how long can you make your audience wait for it? Answer that for yourself…

The End Of An Era? Technics Will Stop Making The 1200 & 1210 Turntable In February 2010

Posted in Audio Department, History, Music, Music production with tags , , , , on November 27, 2009 by C54

If this is true, and it sure seems like it is, this would be another moment where I have to wonder what kind of bizarro world do I live in?

Vinyl recordings, from the seven inch to the 180 gram “heavy platter” formats, have been enjoying a good resurgence the last few years. Apparently, Technics did not get the memo. And while there are or were many companies manufacturing far superior turntables, there are few that can say their product defines the last 35 years with the confidence of Panasonic.

And although our two Technics turntables have worked flawlessly for years and outlived my beloved Philips Electronic, I never really loved to use and listen to them the way I did other turntables. Soto, Rega, Haybrook, B&O, Thorens and Linn to name a few, all made vastly superior products. But none would achieve the ubiquitous status of the Technics 1200.

Acoustic isolation, massive torque, reliable speed and built like a fort, the 1200 became the DJ’s choice in turntables. Will USB versions become the ultimate successor? I ask because I wouldn’t know. My analogue turntables have never let me down and the convenience of an all-in-one turntable/AD converters/USB interface doesn’t outweigh fidelity issues I still have with the more popular USB models.

Oh well. They’re not wooden instruments so my devotion is limited. It would be sad to see acoustic turntables disappear. For now, the music industry’s workhorse appears to be heading for retirement.

Read more at Inthemix.

Zenph Sound Innovations Turns Recorded Music Into A Data Set

Posted in Audio Department, ©opyright, band performance, Music, Music production, Web 2.0 with tags , , on November 16, 2009 by C54

I’m sure that this technology must be causing great joy amongst the data set harvesting crowd.

From my perspective, this is somewhat like going back to 1983 and reversing the technology that M.I.D.I. brought to the world. Here, we find recordings turned into data sets of performance (instead of live performance turned into data sets for other usage such as performance correction or recording performance with different sounds, enhancements or dynamics). Nuance and actual stuff captured and rendered as the components of performance might be the new “cover song” someday, if not very soon.

Intrigued? Read the entire story at Bruce Houghton’s excellent Hypebot.

The 4 Ways Sound Affects Us: Julian Treasure At TED

Posted in Audio Department with tags , , on October 22, 2009 by C54
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