FUCK!...always wanted to start a blog like that. The universal plosive monosyllabic attention getter...and a word with deep hidden meaning. But I digress. What I meant to say was, Fuck, I really don't want this to be over. Went in to Sonic Flow Studio and ran up some work mixes and suddenly it began to sink in that the recording sessions for ConFused5 are history. As Sammie Davis Jr. might have said, "I dig this not, man." I haven't had this good a time since...well, since last month in Vienna as a matter of fact. So I guess I should stop whining.
Recording with ConFused5 drove home something that came to light as I was working with SolidTube last month and was also the theme of my article in yesterday's Sellaband Tribune. The greatest single product that this new thing we call Sellaband can offer the artists on their roster is genuine artist development. If the truth be told, the recording budget does not allow for an all out recording/mixing/mastering package without some huge favors and vigilance on the part of a project manager. But it is sufficient for a band to get a good taste of what studio recording can be. Yeah, yeah. Of course you can make an album for the price of a happy meal with your godamned laptop. But that ain't studio recording with a full band, pro engineers, pro gear and an eye looking in from the outside to help get the most out of yourself.
This album will be really good because the guys in the band allowed me to look deeper into their music than they themselves may have. They also, to their credit, are good enough musicians that they can try different approaches without losing their identity. Musicians can be stubborn and inflexible but I find that this usually stems from insecurity...perhaps they don't have the chops and are afraid to admit it. Or their egos won't allow them to see things from alternative angles. This was not the case with ConFused5. Their attitude was, "We've demo'd the songs, and this is as far as we could take it. Now it's your turn."
As someone who believes in artist development, I believe some of the best work toward a record will happen in a rehearsal room. We tore these songs to pieces and the guys themselves discovered how to put them back together in a way that every part and every note became intrinsic to the track. Time was short, but I wanted the band to really believe in themselves. And that meant that they had to relearn the motivating force behind their parts. These are seasoned guys, but they had to turn off the automatic pilot and fly the plane without instruments so to speak. It was amazing. As the parts became simpler, they began to play with real conviction. And suddenly the vocal melodies started to leap out of the tracks.
The other area where the band really grew was in taking a very organized approach to orchestrating the songs. Once the rhythm section was cleaned out, the parts, though simplified, had greater impact and we discovered that there was now much more room for the keyboards and single line guitar parts that give these songs so much character. Markus and Alex play great harmonic single line parts together and featuring them in a mix can be difficult unless there is room. Many times a band can slip into the habit of playing over other parts which are in the same frequency range. It's good to adopt the philosophy of Willie Keeler. He was a baseball player known for his ability to get a base hit whenever he needed one. When asked how he did this he replied, " I just keep my eyes open and hit em where they ain't." Keeping this in mind will definitely make you a more valuable musician in a group setting.
Recording guitar solos with Markus was great fun. We really got into the rhythmic aspects of soloing and with the rhythm tracks as simple and forceful as they were, he found that he had so much more room inside the tracks to really express himself. Beda and Kurt had provided a great bottom end on which to build. The solos in this music are mostly composed more than improvised so it took a while for Markus to relax into the groove these guys laid out for him. But once he let go of the old habits the shit started to catch fire.
I'm so proud of all these guys. They really stretched their musical horizons and played some great music. And it could only happen because they weren't afraid to change. That is the key to developing as a band. You just have to be willing to try other things and to keep an open mind. There are no limits to what you can pull out of yourself if you are willing to say, "Fuck it...I want to be better today than I was yesterday." Not every musician has that kind of courage.
Well, tonight the band and I got together for a farewell dinner. I had so much fun here and hate to leave this town. But, as much as we've grown together as a production team, I think that if I push the talk back button one more time and say "Perfect...except..." they'll be packing my bags for me. I also should send a big shout of thanks out to Wolfgang, Max and Spanky at Sonic Flow Studio. They were all great guys to work with and really know what they are doing...when they're not mounting vacuum cleaners and meat grinders on the wall. Spanky's name is actually Harry but Spanky is his new nom de guerre...I'm hoping it sticks.
So...onward and upward! Tomorrow it's back to Vienna for a quick beer before flying home. Thanks Markus and ConFused5, it's been a slice.
Showing posts with label Sonic Flow Studio. Show all posts
Showing posts with label Sonic Flow Studio. Show all posts
Wednesday, March 26, 2008
Monday, March 24, 2008
ConFused5 at Sonic Flow Studio...Continued
As I said in my last entry, the guys at Sonic Flow Studio have built a very cool recording environment. The room is large and they have plenty of large studio gobos. These are move-able walls which are used to create isolated areas in the studio. With these we were able to isolate the guitar amps from the drum microphones. They are also handy in creating a vocal booth or for changing the acoustic characteristics of the room itself. Another thing I might have missed if I hadn't taken a good look around is their extensive collection of table-top meat grinders. These are strictly old-school and are of the hand crank variety. Yes, Wolfgang and Max are have an interesting eye for visual design. There are about fifty of these beauties mounted just inside the studio entrance and what says "Rock'n'Roll" better than a platoon of meat grinders standing at attention at the gates of the tabernacle?
Markus has done an amazing job of getting the media to come out for pictures, articles, video footage and interviews. The question I enjoy answering most is "What kind of projects do you enjoy the most?" My immediate answer is always a very diplomatic, "This one!"
But my serious answer is that I really enjoy working with musicians, singers and bands who may not have had the opportunity to work in a real recording environment with an outside production influence before. Working in a professional studio with ample time to explore and develop has a way of refining the musicianship of any musician. And with the right production team a band that is ready, willing and open-minded will grow by leaps and bounds.
Many musicians with limited recording experience tend to think in terms of what their heroes might play in a given situation. All of us are influenced by what we listen to and love. But when the opportunity to make a recording presents itself, the most important thing for me is to dig deep into a musician and find out what he has to say...and then to pull that statement out of him in his own words so to speak. I've done plenty of sessions as a bassist where I've been asked to "do that Jaco thing" or "give me a Larry Graham type of slap thing." But when I'm trying to interpret what an original artist has inside of him, I simply won't stop until the musician himself can listen to the track and say, "oh...yeah, that's what I always wanted to say, I just never knew that I knew how to do that." That moment of realization is the big payoff as far as I'm concerned. If a song sells or not is often a matter of opinion and luck, but if a musician can let himself be taken to that moment he knows he is capable of more than he had dreamed of, then he can listen to the music for the rest of his life with a clear conscience.
ConFused5 is made up of excellent musicians from top to bottom. They are very capable on a technical level but have never had the chance to have an outsider look at their music under a microscope. Fortunately they are also mature grownups and have relatively open minds so we have been able to experiment quite a bit during the overdub sessions. If a musician doesn't have the chops to try different things, well, then you're dead in the water. But in every case, I think we've been able to get to the deepest recesses of the musician's original intent and the recordings will reflect a genuine musical honesty.
Today we will finish off the last of the vocals and I'll go into Sonic Flow to run up work mixes tomorrow. Man, I hate it when things start to come to a close.
Markus has done an amazing job of getting the media to come out for pictures, articles, video footage and interviews. The question I enjoy answering most is "What kind of projects do you enjoy the most?" My immediate answer is always a very diplomatic, "This one!"
But my serious answer is that I really enjoy working with musicians, singers and bands who may not have had the opportunity to work in a real recording environment with an outside production influence before. Working in a professional studio with ample time to explore and develop has a way of refining the musicianship of any musician. And with the right production team a band that is ready, willing and open-minded will grow by leaps and bounds.
Many musicians with limited recording experience tend to think in terms of what their heroes might play in a given situation. All of us are influenced by what we listen to and love. But when the opportunity to make a recording presents itself, the most important thing for me is to dig deep into a musician and find out what he has to say...and then to pull that statement out of him in his own words so to speak. I've done plenty of sessions as a bassist where I've been asked to "do that Jaco thing" or "give me a Larry Graham type of slap thing." But when I'm trying to interpret what an original artist has inside of him, I simply won't stop until the musician himself can listen to the track and say, "oh...yeah, that's what I always wanted to say, I just never knew that I knew how to do that." That moment of realization is the big payoff as far as I'm concerned. If a song sells or not is often a matter of opinion and luck, but if a musician can let himself be taken to that moment he knows he is capable of more than he had dreamed of, then he can listen to the music for the rest of his life with a clear conscience.
ConFused5 is made up of excellent musicians from top to bottom. They are very capable on a technical level but have never had the chance to have an outsider look at their music under a microscope. Fortunately they are also mature grownups and have relatively open minds so we have been able to experiment quite a bit during the overdub sessions. If a musician doesn't have the chops to try different things, well, then you're dead in the water. But in every case, I think we've been able to get to the deepest recesses of the musician's original intent and the recordings will reflect a genuine musical honesty.
Today we will finish off the last of the vocals and I'll go into Sonic Flow to run up work mixes tomorrow. Man, I hate it when things start to come to a close.
Monday, March 17, 2008
ConFused5 at Sonic Flow Studio
After a strong rehearsal week, ConFused5 and I moved into Sonic Flow Studio and settled in to cut the basic rhythm tracks for their new album. Sonic Flow is a studio after my own heart. Wolfgang and Max have built a great sounding room and have stocked it with great equipment. The studio records on either Protools HD or Logic and there is no shortage of great microphones, pre-amps or good vibes. But what I found particularly interesting was the vintage vacuum cleaner collection. I have no clue what they sound like, but they sure look cool.
Markus and Alex have brought Marshall and Orange guitar amps in addition to the Tube Thomsen combo that Markus uses live. The studio has a really nice sounding Vox AC30 and a few nice Fender combos so tracking guitars will be more than fun. The only limitation we have here is that there are only sixteen input channels but that isn't any different than recording in the average analog studio of twenty years ago. With a little thought and creativity we were able to set up the studio to record the entire rhythm section: bass, drums, two guitars and guide piano, in the same room at the same time.
And so, as Captain Beefheart once said, "the fun begun." I had hoped to record at least two tracks per day and optimistically thought we might have a few days where we would catch three. Man, was I ever wrong. All the band needed was a few run throughs of each song and damned if they didn't start nailing track after track. On the first day we finished the basics on four songs and by 6:00 pm of day two...that's 18:00 in Austria, probably because of the weak dollar exchange rate, we had all ten tracks finished and ready for overdubs. As always, I let the band choose one track to record over again just because bands usually get cocky at about this time and think they have a better one left in them. And as usual...I was right and they were wrong. The first take of "Why Me" was loaded with energy and vibe and that's the one I'll keep. But what the hell, we had time to spare, and who wants to quit playing in the studio anyway?
Because the section was working so efficiently, I decided to grab a lot of rhythm guitar doubles immediately upon deciding that the take was a keeper. When playing live, Alex uses an Ibanez chorus stomp box and he asked me if we would be using it in the recording process. I answered that yes, probably...because the door lock in the toilet was broken and this little baby would be useful in holding the door closed. Then I showed Alex my very favorite chorus device.
My favorite chorus has two versions. If the tracking guitar is a Les Paul, I like to double the part with a Stratocaster through an AC30. If the tracking Guitar was a Strat, then I'll double the part with either a Les Paul or a Gibson ES something or other...335, 345 or 355. Since we had Markus' 345 at hand, my favorite chorus in this case consisted of the Vox AC30, Alex's Les Paul Custom, Markus' ES345 and my Knopfler signature Stratocaster. Yeah, it may not be as portable a chorus device as the Ibanez, but it sounds pretty goddamned good. And to tell the truth, I don't think I would use any of the components of my chorus to hold the toilet door shut, so I think we made the best use of the materials we had available.
On day three Herbert and I began to work on keyboard overdubs. Herbert is great to work with. In addition to being a very well trained musician, he has a great instinct for musical ideas and best of all, he has an open mind and is not averse to trying different voicings or rhythmic motifs in order to create the proper soundscapes with which to feature the melodies and lyrics of these songs. We have a deep love for classical music in common and musical ideas fly back and forth in three languages. Between Herbert's German, my English, both of our efforts at speaking each other's language and the language of music, I suppose that totals up to 3.5 languages...but the music is coming together really well and we are having loads of fun.
Meanwhile, because Markus has nothing to do at the moment, he has been doing what he has an absolute genius for, and that is dragging the media out to the countryside and generating interest in this band and in the Sellaband platform. By the time this album is released in July, Markus will have made sure that the very cows grazing on the nearby alps will have heard of it and want a copy of their own. So far we've done at least one interview or media event per day in the studio and tomorrow will be no different...which reminds me...shit! I gotta shave and wear clean socks tomorrow. Ah well, a small price to pay.
Tomorrow we continue with keyboards and then it will be time to record guitar overdubs with Markus. I wonder how many interviews he'll schedule when it's his turn in the box...
Markus and Alex have brought Marshall and Orange guitar amps in addition to the Tube Thomsen combo that Markus uses live. The studio has a really nice sounding Vox AC30 and a few nice Fender combos so tracking guitars will be more than fun. The only limitation we have here is that there are only sixteen input channels but that isn't any different than recording in the average analog studio of twenty years ago. With a little thought and creativity we were able to set up the studio to record the entire rhythm section: bass, drums, two guitars and guide piano, in the same room at the same time.
And so, as Captain Beefheart once said, "the fun begun." I had hoped to record at least two tracks per day and optimistically thought we might have a few days where we would catch three. Man, was I ever wrong. All the band needed was a few run throughs of each song and damned if they didn't start nailing track after track. On the first day we finished the basics on four songs and by 6:00 pm of day two...that's 18:00 in Austria, probably because of the weak dollar exchange rate, we had all ten tracks finished and ready for overdubs. As always, I let the band choose one track to record over again just because bands usually get cocky at about this time and think they have a better one left in them. And as usual...I was right and they were wrong. The first take of "Why Me" was loaded with energy and vibe and that's the one I'll keep. But what the hell, we had time to spare, and who wants to quit playing in the studio anyway?
Because the section was working so efficiently, I decided to grab a lot of rhythm guitar doubles immediately upon deciding that the take was a keeper. When playing live, Alex uses an Ibanez chorus stomp box and he asked me if we would be using it in the recording process. I answered that yes, probably...because the door lock in the toilet was broken and this little baby would be useful in holding the door closed. Then I showed Alex my very favorite chorus device.
My favorite chorus has two versions. If the tracking guitar is a Les Paul, I like to double the part with a Stratocaster through an AC30. If the tracking Guitar was a Strat, then I'll double the part with either a Les Paul or a Gibson ES something or other...335, 345 or 355. Since we had Markus' 345 at hand, my favorite chorus in this case consisted of the Vox AC30, Alex's Les Paul Custom, Markus' ES345 and my Knopfler signature Stratocaster. Yeah, it may not be as portable a chorus device as the Ibanez, but it sounds pretty goddamned good. And to tell the truth, I don't think I would use any of the components of my chorus to hold the toilet door shut, so I think we made the best use of the materials we had available.
On day three Herbert and I began to work on keyboard overdubs. Herbert is great to work with. In addition to being a very well trained musician, he has a great instinct for musical ideas and best of all, he has an open mind and is not averse to trying different voicings or rhythmic motifs in order to create the proper soundscapes with which to feature the melodies and lyrics of these songs. We have a deep love for classical music in common and musical ideas fly back and forth in three languages. Between Herbert's German, my English, both of our efforts at speaking each other's language and the language of music, I suppose that totals up to 3.5 languages...but the music is coming together really well and we are having loads of fun.
Meanwhile, because Markus has nothing to do at the moment, he has been doing what he has an absolute genius for, and that is dragging the media out to the countryside and generating interest in this band and in the Sellaband platform. By the time this album is released in July, Markus will have made sure that the very cows grazing on the nearby alps will have heard of it and want a copy of their own. So far we've done at least one interview or media event per day in the studio and tomorrow will be no different...which reminds me...shit! I gotta shave and wear clean socks tomorrow. Ah well, a small price to pay.
Tomorrow we continue with keyboards and then it will be time to record guitar overdubs with Markus. I wonder how many interviews he'll schedule when it's his turn in the box...
Thursday, March 13, 2008
ConFused5...Rehearsals
We are ready to go into the recording studio! It has been a full work week for ConFused5. Actually it has been two work weeks in one for the guys in the band. All the guys work for a living so rehearsing every available minute has meant that they have been working two jobs this week. I don't know how much their straight jobs take out of them, but I've been working them pretty hard and I think that we will peak at the right time to record a good solid album.
As I've written before, ConFused5 is a collaboration of diverse characters. Herbert is a full time music instructor and a consummate musician of the highest order. He has a great deal of experience in writing and arranging, plays keyboard and wind instruments and is a fine, classically trained tenor about town. And if you know anything at all about Salzburg, being a tenor in this town is no joke. His musical vocabulary is extensive and I get a kick out of him throwing out classical bits and pieces between C5 songs.
On bass and vocals, Kurt is the guy out in front. Kurt has been all over the world as a multi-instrumentalist and is laying down the fat-ass bottom end as well as sharing lead vocal responsibilities with Herbert. C5 is fortunate to have two excellent singers who have very different singing styles and yet blend really well when they sing together. As a bassist, Kurt is my kind of guy. He lays it down big, fat and with intensity. Bass is not an easy gig and he really does a great job of grooving with the kick and catching guitar figures.
Alex doesn't say much, at least I thought so until I stood in front of his amp and paid some attention. On a live gig, Alex may use 3 or 4 different sounds per song because he covers so many bases. One of the fun things for us will be to let him record what he plays live in layers of tracks so that all those great parts are there all the time. He is considered the rhythm guitar player in C5 but his contribution goes much further than what the title would imply.
On drums we have Beda, a professional percussionist, educator and clinician. Beda was a recent addition to C5 and the groove factor certainly went up a few notches when he came on board. He has chops oozing out of every pore and he'll hit anything you put in front of him. But in addition to being a bad-ass drummer, Beda is a fine musician with a great ear, large vocabulary and what's at the top of any producer's wish list, an open mind. When you think about it, drummers get paid to hit things...and sometimes they can be real pricks...not a great combination and perhaps a great subject of a future blog entry. But drummers who are also open-minded musicians are very valuable to a project like this and the recording sessions should be a ton of fun.
On lead guitar, and the guy who's driving this bus down the autobahn is my good friend Markus. Now, Markus is an interesting guy. He works his ass off in the office all day and all he wants to do is play in a rock band. He's also a connoisseur of fine guitars so we have a lot in common in that regard. His efforts in generating the $50,000 Sellaband budget have made him somewhat of a statesman on the website and when we're not actually working on music we are usually discussing either great guitars or the strategies that made this project possible. Add his ironic sense of humor to the mix and you can be sure that none of our rehearsals have had a dull moment.
Tomorrow we move the drums into Sonic Flow studio and we will begin recording the basic rhythm tracks on Saturday. Because this is rock music and the feel is so intrinsic to the style, I want to make every effort to record the tracks with the guys all in the same room. There will be some isolation issues to work out but the final product will be better for our efforts. The keyboard tracks will probably be guide tracks and we will do the final tracks as overdubs after finding just the right sounds. But I want as many of the guitars to go down with the drums and bass as possible in order to capture strong band performances. Once the tracks are feeling good, I'm sure we will do some doubling of the fat guitar parts. The solos and vocals will go down last and I'm hoping that tracking with the full band will render some inspiring foundations on which to build the songs.
So, to the studio we go. In a few days we will find out just how valuable pre-production rehearsals really can be. When getting a band ready to record, I tend to think of things in terms of a sports team. You can win a ton of games all season long, but if you're blown out by the time the playoffs come around, the whole season was a waste of time. Our playoffs start on Saturday and I think that we are peaking at just the right time. The guys are loose and having fun...and that's how you make good music.
As I've written before, ConFused5 is a collaboration of diverse characters. Herbert is a full time music instructor and a consummate musician of the highest order. He has a great deal of experience in writing and arranging, plays keyboard and wind instruments and is a fine, classically trained tenor about town. And if you know anything at all about Salzburg, being a tenor in this town is no joke. His musical vocabulary is extensive and I get a kick out of him throwing out classical bits and pieces between C5 songs.
On bass and vocals, Kurt is the guy out in front. Kurt has been all over the world as a multi-instrumentalist and is laying down the fat-ass bottom end as well as sharing lead vocal responsibilities with Herbert. C5 is fortunate to have two excellent singers who have very different singing styles and yet blend really well when they sing together. As a bassist, Kurt is my kind of guy. He lays it down big, fat and with intensity. Bass is not an easy gig and he really does a great job of grooving with the kick and catching guitar figures.
Alex doesn't say much, at least I thought so until I stood in front of his amp and paid some attention. On a live gig, Alex may use 3 or 4 different sounds per song because he covers so many bases. One of the fun things for us will be to let him record what he plays live in layers of tracks so that all those great parts are there all the time. He is considered the rhythm guitar player in C5 but his contribution goes much further than what the title would imply.
On drums we have Beda, a professional percussionist, educator and clinician. Beda was a recent addition to C5 and the groove factor certainly went up a few notches when he came on board. He has chops oozing out of every pore and he'll hit anything you put in front of him. But in addition to being a bad-ass drummer, Beda is a fine musician with a great ear, large vocabulary and what's at the top of any producer's wish list, an open mind. When you think about it, drummers get paid to hit things...and sometimes they can be real pricks...not a great combination and perhaps a great subject of a future blog entry. But drummers who are also open-minded musicians are very valuable to a project like this and the recording sessions should be a ton of fun.
On lead guitar, and the guy who's driving this bus down the autobahn is my good friend Markus. Now, Markus is an interesting guy. He works his ass off in the office all day and all he wants to do is play in a rock band. He's also a connoisseur of fine guitars so we have a lot in common in that regard. His efforts in generating the $50,000 Sellaband budget have made him somewhat of a statesman on the website and when we're not actually working on music we are usually discussing either great guitars or the strategies that made this project possible. Add his ironic sense of humor to the mix and you can be sure that none of our rehearsals have had a dull moment.
Tomorrow we move the drums into Sonic Flow studio and we will begin recording the basic rhythm tracks on Saturday. Because this is rock music and the feel is so intrinsic to the style, I want to make every effort to record the tracks with the guys all in the same room. There will be some isolation issues to work out but the final product will be better for our efforts. The keyboard tracks will probably be guide tracks and we will do the final tracks as overdubs after finding just the right sounds. But I want as many of the guitars to go down with the drums and bass as possible in order to capture strong band performances. Once the tracks are feeling good, I'm sure we will do some doubling of the fat guitar parts. The solos and vocals will go down last and I'm hoping that tracking with the full band will render some inspiring foundations on which to build the songs.
So, to the studio we go. In a few days we will find out just how valuable pre-production rehearsals really can be. When getting a band ready to record, I tend to think of things in terms of a sports team. You can win a ton of games all season long, but if you're blown out by the time the playoffs come around, the whole season was a waste of time. Our playoffs start on Saturday and I think that we are peaking at just the right time. The guys are loose and having fun...and that's how you make good music.
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