Friday, June 6, 2014

keep on keepin on

It's May and it's almost June. It just don't stop!

I've been doing so many awesome projects that it's almost overwhelming! Almost hard to keep track of.

Let's talk about some gear, huh?

I got a sweet new compressor. It's called an Anamod 660. It's a Fairchild 660 compressor squeezed into a 500 series unit. It sounds stupid to be honest.. but somehow, I was intrigued.. so I began listening to sound clips that people were posting on gearslutz. They were comparing their real 660s and 670s to the Anamod 660 and the difference was shocking: there was none. I mean.. yes there was a very subtle difference and I'm sure you could argue that a real 670 is worth every penny versus the Anamod.. BUT I'm not dropping $60k on a compressor anytime soon and I use my 670 type plug in A LOT.. So much so that I thought it'd behoove me to purchase the Anamod 660 and actually start tracking with one in the chain.

So I got the compressor and plugged it into one of my Lunchbox racks and boom it ROCKS! The first session I used it on was with Graham Clise, Dave Sweetapple, and one of their friends on drums. I used my old Shineybox ribbon mic behind the drummer's right shoulder, pointing at his floor tom and smashed it to pieces with the 660. I sneaked it into the mix just a little bit to give the floor tom a little extra kick. Worked like a charm! The 660 also did interesting things to the ambient sound of the kit, the cymbals (yes!!) and the bass and snare drum.

Three days later And The Kids came in to start tracking their forthcoming full length with producer Ian Hearsy. He asked if I'd put a mono overhead up to glue the mics together. I used the Shineybox on a VERY tall stand and put it up about 10' above the kit. I CRUSHED it with the 660 and WOW the room really came into the picture nicely.

When I began mixing the And The Kids record and decided to use the Anamod 660 where'd I'd normally use my plug in and now I'm completely impressed and REALLY need to get myself a second unit.

Needless to say, I'll need a new Lunchbox for this, which means I'll have a new Lunchbox to fill. On my list if definitely another Anamod 660, and a pair of API 560b EQs (if I can find them!). If I buy another 6-space, I'll still have two spaces to fill so I guess I'll either build two more CAPI preamps or buy something fun.

The Anaod 660. Hard to believe it does the 660 thing so well.

Moving along..

Recently a band came in with two 100 watt Marshall Plexis c. 1968. I shuttered when I saw them, thinking "why?? and how the F am I gonna record amps this loud???" Well.. I stopped thinking and started mic'ing. I put my favorite: U67 and 421 on the guitar cab. I backed them off a few inches more than normal and hot damn it sounded AMAZING. I bussed them together, added a bit of EQ from my Troisi modules on the MCI, then sent them to one Pro Tools track. Simple and wonderful-sounding.

For bass, I used a Bock Audio 151 with the bright switch set to "on" blended with an Audix D6, my newest microphone purchase. I bought the D6 specifically for this purpose and the two mics together were simply beautiful. The D6 had really punchy lows and highs while the 151 added nice complex midrange to the mix. Each mic was compressed through a Neve 2254a compressor and got its own dedicated track in Pro Tools. I printed a Di and it really tied the whole thing together nicely. Quite like a fine wine, really. NOT! It sounded f'ing brutal. The bass player used a Rickenback 4001 and a kick-ass custon Tym Guitars pedal.

BOOM! 28" of rawk

The Audix D6 is a mic specifically designed for bass drum recording. I'm not a huge fan of that type of microphone on the bass drum but generally "that type" of microphone (Audix D6, AKG D112, Shure Beta52) really does it for me on bass cabs.. so that's why I bought the mic and it's lived on the cab since!

Here's a gear grievance:

The Roland RE-201 Space Echo. These machines are absolutely beautiful sounding. They modulate like nothing else, distort like nothing else, and find their way into mixes quite nicely. With that said, they're extremely unpredictable (part of the charm but not always practical), have almost no headroom and almost unusable output, and they cost a lot of buy and to maintain them is complicated and also expensive. Most owners have little knowledge of analog recording tape so I often see/hear these units sounding a fraction as good as they should.

Someone brought one in recently and while it ended up being a big part of the sound of the record, it was a royal pain to deal with. The owner of the box got an ok deal on it but ended up having to have the motor rebuilt. It's still pretty f'd up, too! The echo is cool but the part that really won me over was the spring reverb.

I'm sure this rant will be considered unpopular but we spent too many minutes (which added up to about an hour) wrestling with this thing, reprinting, cleaning, greasing the motor, etc for me to love it unabashedly.

During the mix, we broke out the EHX Memory Man (c. 80s). Mine has the hard-wired AC plug and it's the Deluxe version. This is probably the most sought-after version, and for good reason. It is a completely different sound than the RE-201 but it worked like a charm, on command, as needed, when needed.

Two beauties. I'll go with the one that always works, though.

If you're really dying to get a tape echo with some character, I'd have to recommend the Fulltone Tube Tape echo. This unit dive-bombs, and distorts as well as a vintage Echoplex but you probably won't need to put much into it as far as maintenance goes. It costs about $1k, but considering Echoplex and Space Echos sell for just under that and will require maintenance at some point, to me, it's a no-brainer.

The final gear-related thing I'll say is this: My old console is for sale. It has been for about a year but I haven't pushed it very hard. If you need a decent analog board that's reliable and capable, this would be a fantastic deal for you. It's an Amek TAC Scorpion. 32 channels, Semi para EQ on each, 8 buss, 4 Aux.. a total workhorse. I've done MANY projects on this board: Thurston Moore solo, Chelsea Light Moving, Speedy Ortiz, Body/Head, California X, and many many more. I've run full-analog tracking AND mixing session on this board so I've actually used the console and not just monitors on two faders. F that. The only known issue when it went into storage is that it has some scratchy faders. You'll get a good deal on it for please write and make an offer. I'm open to trades, too..

Here are some current and upcoming releases I've worked on that are ready for your ears:

Blessed State: Head Space LP
This record rocks. It's nice and tight. Catcy, heavy Dino-damaged rawk.

Sneeze: Wilt LP
This was a fun one. Heavy as shit, catchy as hell. We cut the album in three days. No BS here.

Sweet Apple: The Golden Age of Glitter
This album picks up where the last one left off and provides ample catchy springtime roadtrip vibes.

Dredd Foole/Ben Chasney Duo: Drunk with Insignificance
We tracked and mixed this burner in one day. It's confrontational and beautiful. One of my personal favs.

Magik Markers: Surrender to the Fantasy
This was recorded a long time ago at Mascis's Bisquiteen. It lived in the state we left it for a while, then made it's way to Aaron Mullan. It rocks! This record hosts "Bonfire", the song in which they made a video that Julia, in utero-Luca, and I starred in!

Last thing. this summer's calender is nearly full. I'm excited for all of the amazing sessions forthcoming. It's kind of blowing my mind, in fact. A lot of your favorite bands and piers are coming into Sonelab and other studio this summer. I want to scream from the hills about it.. but I won't. haa.

We're nearly done booking this summer, but if you'd like to get in, feel free to write. You never know..

On a semi-related note, Sonelab's rate is going to make a small increase come September. We've been hauling ass at our current rate for over two years. The cost of doing business has gone up (wow.. the rate for electricity just jumped up nearly 50%!!). Just an FYI to anyone thinking about starting a new project this fall. We don't typically advertise our rates so if you're wondering about them, please write.

xo jp

Wednesday, April 16, 2014

April 2014

It's been just about four months since my last post. Longer than I'd like it to go but I've had some very good reasons to leave this blog as-is for a bit.

The first thing I want to mention is that my work week has changed slightly in that I only work 4 days per week now. Because of this, my calendar is getting very full very quick. If anyone reading this is interested in booking time with me June-September, please reach out now.

My first session of 2014 was Body/Head. Not a bad way to kick off the new year! We spent a day recording and mixing and came out with a 7" to be released on Marador Records on May 20th. 

The next day, the Pixies arrived for 5 days of rehearsal at Sonelab. Since I was booked in another studio, Mark and Anand prepped to record them, should the need arise. And it did! I was sad to pass the gig up but I was committed elsewhere.

Here's the Pixies' backline at Sonelab. Pretty cool.

After getting the Pixies settled into Sonelab, I packed up my car and headed up to Verdant Studio to engineer a record for a Colorado singer/songwriter named John Statz. Jeffery Foucalt was producing, Billy Conway (Morphine) on drums, Jeremy Moses Curris (Booker T) on the bass, and Mark Spencer (Son Volt) on lead guitar and pedal steel. We had fun and cut a killer record.

Verdant Studio. My office for the John Statz recording session.
Here's a Sony C37fet microphone. This was once owned by Les Paul and that is his handwriting on the mic!

One of the engineering "feats of strength" I displayed was the ability to record a singer/acoustic guitarist live, in one room with a full electric rock band, and have little to no bleed!! I've done this a lot in the past, with varying degrees of success, but something here clicked. I think a combination of things were at play, here:

First off, it's paramount that the band plays well together and keeps their dynamics in line. With a band like this, I had nothing to worry about.

Secondly, the room needs to set up properly. Baffles help but they're almost never a part of my plan when setting up a session that's "live in one room". Positioning microphones correctly, considering polar patterns and nulls when selecting mics, and of course, making sure musicians can hear each other well. Everyone was close together so it kept the room volume low. John (singer, acoustic guitar) was placed further from everyone and behind a large baffle with plexiglass in the middle so he could maintain good visual contact.

If all of these items are in place and the room sounds good, it should sound fantastic through the microphones! This session was definitely a landmark for me, as the room sounded great, and I was equipped with the right tools (musicians and microphones!) for the job!

A shot of our live setup at Verdant.

We had a blast, ate well, drank well, and rocked well! We also froze, as it was during the first polar vortex of 2014. I came home, had two days off, and jumped back into Sonelab with a band from Virginia called Left and Right.

I set up the four piece, grabbed basics, guitar and vocal overdubs, and spent the last two days mixing. We Successfully completed this recording in 5 ten hour days. We didn't need a single revision on the mixes so they went straight to mastering with Carl Saff, and the record is complete. 

The band kicked major ass. They came prepared, played it like they meant it, and had fantastic songs. I thought they were an ideal example of how a record in five days should be done. They demoed the songs ahead of time, kept their expectations realistic, and worked with me as a team to keep things moving forward at all times. 

They're on and off tour fairly regularly so they're worth keeping tabs on! Check them out!!

I had two days off and then jumped into a 3 week jaunt at Bisquiteen. It was a lot of fun working there after not being there for a while. I got really into using the Little Labs Phase Alignment Tool while recording one instrument with many different microphones. We had a great sound but I noticed some comb filtering due to phase alignment issues. I couldn't move the mics around to get phase right so I reached for the Little Labs box and dialed it in. Every studio should have one!

Some awesome gear, somewhere in Massachusetts.

Next, I began working with Jeph Jaques (Questionable Content) on another Deathmole record. Were taking the same approach to this one: BRUTAL. It's always awesome working with Jeph - plus I love heavy music and embrace every moment of heavy music I get to work on.

After that I mixed a record for a Serbian band called Ti. They use cool vintage drum pads instead of "real drums" and almost every overerdub is done through the preamp of a Binson Echorec! Listen to our work here. It was fun to mix and it was the first project I've mixed entirely to my Ampex 440 1/4" two track. We A/B'd digital verse analog and analog was the clear winner!!

Ignore the mess on and around the 440. This thing rawks!

Julia and I began the countdown to parenthood. Luca Ryan Pizzoferrato was born on March 7th and we're completely in love with him! 

Dad vibes
Here's Luca around one month old!

After my three weeks off, I stumbled back into the studio. Sleep deprived, sad to leave my new family behind, but looking forward to starting a new project with a good friend, I began work on Zak Trojano's forthcoming record. We spent four days recording acoustic guitar, electric guitar, vocals, and upright bass (thanks for Paul Kochanski). We dialed in a beautiful acoustic guitar sound, blending 2 Coles 4038s, 1 Charter Oak 900T, a feed from a silverface Fender Princeton, and a pair of room mics. There was a DI, too!! One I got everything in phase and with a proper level, I started playing with different presentations from song to song. I'd feature the amplifier on some playbacks, the Coles on others, and even the DI on one song. 

There's a TON of low end on the acoustic guitar. I'm guilty of exploiting that aspect of acoustic guitar. I really do not like a lot of high frequencies in acoustic guitar recordings, even in a dense mix. If I need clarity, I'll break out the AEA N22s (more on that later). Anyway, we'll have to EQ a little bit for the guitar to work wth the upright bass.

Zak Trojano's setup. Acoustic guitar: two Coles, a Charter Oak 900T in the middle, and a u67 for vocals.

The Glazzies came in the following week to finish up their next album. The Glazzies is one man: Peter Landi. He's a drummer that writes songs, plays a mean guitar, and sings, too! Oh! And he's really good! We tracked his songs in December 2013 and he came back in March to finish up tracking and start mixing. We're nearly done and things are sounding awesome. His C&C kit completely ruled and we were able to dial in a wicked drum sound for the mix. All of his guitar tracks were recorded through his Orange AD30 and they totally rip. We used some of my Big Muffs, Jax (FY-2 Companion) fuzz, and the Klon Centaur to sweeten the tone where needed. Lot's of rock on this one!

Another fun mix session was eastern Massachusetts band Last Builders of Empire. This was my second mix job with them and I think we really did some fantastic work. we upped the ante bigtime. We also had a lot of fun reamping things like bass drums and snare drums! I'd never really leaned on reamping drums for a mix session the way I did here. It was amazing and satisfying and the mixes really took shape because of it. Here are some pictures of the awesome things we did!

Fender Bassman pushing a 26" Leedy bass drum goes boom!

Reamping a snare adds great presence to the drums in a mix, but only if you use a u67! ;)

Bill Nace came in with Italy's Jooklo Duo for one day of tracking. It was amazing. We set the room up in a very cool, symmetrical way and got a massive sound while retaining good eye contact and isolation without the use of baffles. It was awesome. The drummer, David had a fairly straight jazz sound/set. He used one of my floor toms as a bass drum and tuned one of my rack toms down to be a floor tom. He made it work, and work it did! He played hard and furiously.. as did Virginia (sax) and Bill (guitar). They lit the room up nicely. 

One interesting thing I tried on this session was to use a new ribbon microphone made by AEA, called the N22. It's an active ribbon microphone with high SPL ratings and very healthy output. It's durable and has nice extended highs. Its lack of proximity effect is fantastic, too. I used the N22s on David's toms. They were perfect for jazz sounds because they were present but warm and the null in the figure eight pattern cancelled out the (raging) cymbals beautifully. Any cymbal bleed actually sounded quite nice! 

Note the placement of the AEA N22 mics on each orange sparkle tom (the orange wood tom was added to hold aux cymbals).

Most recently Connecticut's Death Black Birds came into Sonelab to record a 5 song EP. Over the course of the three days, we cut the basics, added lead guitar, spent a healthy amount of time on vocals (and we got some really sweet takes and background vocals!!), plus added Ryan Quinn (Salvation Alley String Band) on pedal streel on all 5 songs. We were able to get a start on mixing and will continue soon. This band spans the northeast from all parts of Connecticut to New Jersey. 

Death Black Birds' drum setup. More 26" bass drum love!

I was able to experiment with the AEA N22 some more during this session. I used it on a 4x12 Marsh cab, turned up quite loudly. I set up the mic, took a listen and ran back to make two changes. 1: the mic needed an in-line pad. I grabbed the closest one (-20 db) and put it on. 2: I needed to move the mic closer to the speaker. I wanted a bit more bottom and just a touch of proximity effect. Not often (err ever?) you have to do these things with a ribbon mic. It ended up sounding fantastic and working its way into the mix perfectly.

I needed to record some acoustic guitar so I figured I'd try the N22 for that application and it yeilded a fine result. I used my Purple Audio Biz Mk mic preamp, since it was available and I knew it'd do the job well. I figured I'd need some compression to help the acoustic guitar settle into the rock mix but also, I'm a compression junky when it comes to acoustic guitar. FET or Vari-Mu please! I have an oddball Canadian-made Vari-Mu compressor that simply says "Northern Electric" on it. It pumps and breaths in a very musicical way but it also holds things steady when pushed to a certain point. It was PERFECT! I also patched in an old Urei 509 passive EQ, "just in case" and I ended pulling out -2 db of muck. At times, the sound of this chain reminded me of Big Star acoustic recordings. The mics presence with the nice compression was simply beautiful! 

After using the new AEA mic on toms, acoustic guitar, and electric guitar cabinet, I'm impressed with its versitility, but also it's durability and sound. It steps slightly beyond the realm of a useful utilitarian ribbon mic.

That's my first quarter of 2014. It's been extremely busy but extremely rewarding. I'm constantly learning, meeting new people, trying new things, and having fun. Having Luca in my life is a total game changer. It's the ultimate challenge and it's also real love. Few people tell soon-to-be parents how amazing it is. It's hard work and worth every second of it. Julia and I are amazed with the little guy every second of the day.

And I have to say, I didn't think having a baby would change my work ethic at all but it has: I definitely feel a new sense of pride with every session I take part in. I'm thinking about him all the time and I want him to be proud of everything I do. It's cool and weird and awesome!

So that's 2014 so far. So far it's been amazing and it's going to just keep rockin more. This spring is gonna be rad in and out of the studio! Ok 


Tuesday, December 31, 2013

2013 kicked ass

I was skeptical about 2013. "13" had me kinda freaked out.. but as things progressed, things got awesome. Here it is.. 13 reasons why I was way into 2013:

1. First full year of Sonelab. We opened in May of 2012 so 2013 has been our first 365 day routine. I have absolutely no complaints!

2. A shit ton of records I worked on in 2012 were released and it felt really good to see these bands go out and promote these records. I don't need to name names. I didn't work on a single stinker!

3. I got to work on a shit ton of awesome records that will see release in 2014!

4. I upgraded my console. I recorded on a Tac Scoprion for a long long time. I had two of them in fact! in 2013 I upgraded to an MCI JH636 console. I love it. It's got decent mic preamps, EQs that totally rock (especially the four Troisi EQs), and a TON of awesome headroom.

5. I got another Lynx Aurora A/DD/A. This means I have 24 simultaneous Pro Tools I/O. This is not a very fun purchase, but every aspect of it makes me feel like a "real studio owner" - plus.. 16 i/o is not the type of limitation that's fun to work with in the digital world. And I guess this paves the way for me getting a 2" 24 track at some point!! Though a 16 track would be awesome, too!

6. My Tascam MS-16 is fully functional. All channels work and sound good! I cut at least 8 records on tape this year and I had just gotten it cal'd in June!

7. My Ampex 440c is now fully functional as well! This means I can stop using it as a tape echo and start cutting mixes to it!

8. I started using Coles 4038s in conjunction with my ADR Compex compressor for overhead mics. I hate it for some records and absolutely LOVE it on other records!

9. Working my ass off: I worked on more projects and logged more hours in 2013 than I ever have in my career. Because of this, I feel that I've become a much different engineer. I spend less time thinking about tools (microphone preamps, etc) and more time thinking about arrangement and performance. I'm very happy about this- but I still think about gear a lot.. haha

10. I attended the 2013 Potluck Audio Convention. This is an audio convention hosted by Craig Schumacher in Tuscon, AZ, where I was asked to speak on a panel about vocal recording. I was extremely honored to be asked to participate, but I also got a lot of great information out of the other panels. I also met a lot of amazing people in the field! I hope I can attend 2014!

11. I was in two music videos: Bunny's a Swine's Greetings from the Bottom and Magik Marker's Bonfire. My wife, Julia (many of you know her from scheduling sessions with me) was in Bonfire, too!

12. I was able to work in and build up the studio of my dreams (more or less) this year. I feel settled in, proud to be a part of it with Mark Miller, and satisfied with the hard work he and I have done to make Sonelab the studio it is! Our studio has definitely grown and now has it's own unique identity.

13. in 2013, Julia got pregnant with our future baby. We're expecting at the end of February and we could not be more excited! Our home is just about ready and it's been a lot of fun preparing it for the new addition.

That's it. Those are my 13 reasons why 2013 was a great year.

Happy New Year, all!

Monday, October 21, 2013

Long time no write..

There's been a lot of action since my last blog update. I figured before I fall into another long stretch of sessions, I ought to update this ol' blog.

Let's get down to business!

Things have been busy at Sonelab. It's really been awesome to work on such a great and diverse grouping of bands in the same space. Sometimes it's hard to find time to experiment when you're on the clock but since I've gotten so efficient in our space, I've been able to try things out without spending too much time with setup.

Before we get into that, I'm going to get you up to speed on some projects that I've been involved with since my last update.

Western Mass delicacy Blessed State came in to finish overdubs. We layered a lot of guitars and grabbed vocals for everything all in one day. It was exciting.. not a dull moment. Lots of Marshalls and Neumann u67 going on.

Our old Marsh cab with my favorite guitar mics planted right on it.
Deploying our beautiful RCA stand for 14' Coles room mics.

The very next day, Tom Cain came into Sonelab with his band. We essentially cut the entire record in two days. it was a lot of fun! The setup was acoustic/electric guitar, vocals, drums, bass, and keys all live in one room. This was a great session for me because it was the first time I used Coles 4038s for overheads. Why did I wait this long you ask? Part of the reason is that I've never had a microphone stand capable of holding one, let alone two Coles 4038s at the appropriate height. The other part is that it's never been a sound I've wanted to get.. until I tried it and realized that it's a sound I've always wanted to hear on playback.

I liked the sound so much while dialing in the drum kit, that I took it one step further by sending them through my ADR Compex. HOT DAMN.. It's a sound we've all heard. Completely classic and exciting. I honestly don't think there's another way to dial that in, either.. I suppose a Fairchild 670 would do..

Just a few days later, Hayward Williams came in to track his forthcoming long player. Hot on the sounds of Tom Cain's session, I put up the Coles/Compex setup. The drummer was Billy Conway. He's one of my alltime favorite musicians to work with. He's an amazing mind to have on your session. His drumming ain't bad, either! We needed to track a lot of vocals and acoustic instruments live, so we put Billy in the booth. The drums sounded quite 70s! Yes, the drums sounded great, but so did the songs and musicianship all around. 

Billy Conway's kit in the iso. 70s style.

My next session was in Brooklyn at a great studio called Seaside Lounge. The client was Al Huckabee. He'd written a handful of really f-ing awesome songs and had a bunch of great fellas on the job. We all had a ton of fun and were super productive. The songs go from Stonesy to Gram Parsons vibes. Altogether a unique look at classic sounds with a really great and diverse group of musicians. Since I was batting 1000 with the Coles/Compex thing, I made sure to pack the rig up so I could do it again in Brooklyn. I'm mixing those tracks as I type this and I'm SO glad I stuck with that setup!

I'm crazy.

I got home from Brooklyn, enjoyed two days off and hit the studio with Caught On Tape and Chelsea Light Moving. We grabbed a lot of improvs on the first day, and mixed them. The second day was focused on grabbing CLM's new tunes. We tracked and mixed all 3 that day and are currently undergoing mastering/late mix revisions. It all should be done soon. It's another winner!

Thurston Moore's Caught On Tape/Chelsea Light Moving rig
John Moloney's Caught On Tape/Chelsea Light Moving rig.

I'll breeze through a few more things:

-Blessed State: mixed! Mastered, even!
-Tongue Oven: mixed.. ALMOST DONE!
-Twenty Three Quartet: TRACKED AND MIXED! That was fun!
-Lost Twin: full length tracked on tape in two days!! Just needs vocals/mixing (no Coles/Compex overheads on this record)!!

Lost Twin is part of the Sonelab Eurocar family.

After all of that madness, Jeph Jacques from the comic Questionable Content came in to record his solo instrumental metal project Deathmole. We knocked out the record in 4 days and started mixing on the 5th. I could write a book about this session. I did a lot of things I don't normally do.. and got results I was VERY pleased with. I think Jeph was, too! We finish this record and start another one next week.

Last week Caitlin Canty came in for 4 days to record her forthcoming full length. Once again with Jeffery Foucalt producing/guitar/vocals, Billy Conway drums, Jeremy Moses Curtis on bass, Eric Heywood on pedal steel/lead guitar, and Matt Lorenz was our utility man on BVs/guitar/violin/pump organ. This was an exhausting session for me. I was running Pro Tools and tape at the same time, making sure the right people had the right instruments mic'd up (lots of switching it up). As draining as this session was, I think everyone walked away very proud of the good work we'd all done. Caitlin sang her heart out into that u67 for four days straight and didn't flinch once. We tracked upwards of 20 songs. I have no idea what will be on the record.. but there's not question that it'll be beautiful.

Billy Conway's kit for a different session, in our live room.
Eric Heywood's pedal steel/guitar rig set up in our drum room.

Like I wrote earlier.. I'm mixing Al Huckabee's record as I type this update. I'm at the end of the first day, sitting here, reviewing my work for the day. I'm pleased. Very much so! These songs are sounding very full, even with fairly sparse arrangements. The songs are rocking but quite delicate. Because of the sparseness, things should be "just so". In addition to that, all of the playing was so intentional. My goal is to not fuck it up - and I think I'm doing ok..Though I'm really psyched on using my Ampex 440 for tape delay and sending it through my Mutron Phasor on the way back to my console ;)

Rocking tape delay for Al Huckabee's record.
I fell in love with that there Northern Electric Vari-Mu.

In closing: I'm really excited about the very busy fall/winter I have ahead of me! There are so many great new projects in the works and finishing up some really fun projects I've already started!

I've been getting more and more requests to work on projects from out of town bands and I must say: it's something I really enjoy. I love working with people who aren't somehow related to the regional network of musicians. There definitely some excitement on both sides of the glass with such a new situation. The social aspect and the musical aspects are really unique and cool. And I'm not knockin the work I get to do with the fantastic local community I live in! It's the best and being here has allowed me to work on some of the best projects I've ever been a part of.

..So if you're a band from out of town that's interested in coming out to little old western Massachusetts to make some music, please reach out. There are a lot of great reasons to do it.

Julia and I are expecting a little one in Feb and we're both beyond excited about it. We're enjoying Autumn together and preparing our house for its new addition. It's all so exciting - yet I'm still pinching myself. Perhaps he or she will be part of the next wave of engineers.. if so, I promise to introduce she/he to analog signal flow before it gets anywhere near a computer ;)

Tuesday, August 6, 2013

Feeling fresh!

Hello blog-followers!

I'm just getting back into the swing of things after attending Potluckcon in Tucson, AZ. I was asked to speak on a panel about vocal recording, and ended up having a mind-blowingly awesome experience. I cannot wait for next year's conference!

Getting together with a roomful of other engineers to have some beers, share some of our experiences, and just get to know each other a bit is something every engineer should experience. I feel fresh, inspired, and unbelievably excited to get back to work.

Here are some pictures of the conference.

The view outside the hotel lobby in Tucson, AZ.

Live recording session, presented by Mojave Microphones. In a hotel room!

Vocal recording panel. Andrew Scheps, Pete Weiss (moderator), Susan Marshall, Neil Cappellino, me, and Michael Rominowski.


In other news:

I recently installed a new console in my control room. It's an MCI JH636. I've worked on my TAC Scorpion for many many years and made a lot of excellent recordings on that desk. Over the past couple of years, I felt a strong need to upgrade to a better desk and when this board came along, I had to do it. It's a tool that is already making my job easier and more rewarding. It features a lot of "upgrades" from the factory and some that were done after the fact. All of the channels include the "vari-Q" EQ modules, which adds a bandwidth selection to the middle band. Four of the channels have an EQ module made by Troisi. If you've never used or heard of Troisi equipment, do a quick look. These are very powerful fully-parametric EQs. Aside from that, it's got 24 busses, 6 aux sends, 36 channels, among many other features that make routing an absolute pleasure.

This is a picture of my console in its original home. Thanks Bob Alac!

Prepping for delivery.

Console homecoming party!

Ready for action.

In other other news:

July was a bit of a sleepy month for me. It was a blessing in disguise as it allowed me plenty of time to get my MCI in and working. It also allowed Julia and I to take a much-needed vacation.

I had great sessions with the Warblers over at Bisquiteen. We finished all of the recording for their forthcoming LP and are going to start planning our mix session soon!

Violet Clark came in to wrap up mixing on her forthcoming solo record. We took mixes I'd done over the spring and basically dropped a bomb on them. Violet had a lot of great ideas. There are a lot of cool tricks, fun edits, and great sounds on these mixes. It'll be a lot of fun for the listener because A) the music is great and well-crafted, and B) because of the copious amounts of ear-candy.

Blessed State swooped in for a solid day of basics! We cut 8 songs in 10 hours and are going to continue with guitar and vocal overdubs later this week. Needless to say, I cannot wait!

Looking forward, I have a pretty full plate for August-October. Many great sessions to come, including trips to NYC and Maine.. And a few that are going to be very unique to me.. Slightly removed from the usual "guitar, bass, drums" format I am usually involved in.

Here are some records with a release date in the near future:

Off! Live at the 9:30 Club on Outer Battery Records

Body/Head - "Coming Apart" dbl LP on Matador Records

Bunny's A Swine - "Calling Out" on Tiny Radars (This record has been "out" for a bit now, but due to vinyl pressing BS, the wax is just about to be released.

So as I mentioned, I have a full plate in August. September and October are getting booked with some dates left. If you're interested in starting a new project or finishing an old project and would like to do it by the end of 2013, now would be a great time to get dialogue going!

Friday, June 28, 2013

Making Music History

This week two notable releases were announced. Both were releases that I played a part in. Of course, I'm absolutely proud beyond belief when these projects are announced by media. These are situations I never could have invented for myself, yet I'm finding myself involved in the process of creating these pieces.

1. Bill Nace and Kim Gordon's Body/Head record, Coming Apart, is coming out on Matador. Read about it here. I'd worked with them in the past, and have written about it. This record will draw you in. It's beautiful, intense, and truly a masterpiece.

2. The Pixies released Bagboy. Black Francis and a friend came in last summer, nearly one year ago, to work on demos for "the old band's new record" -- and this song was one (of 9) that we spent a lot of time on. We tried different drum beats, edits, tempos, guitar tracks, etc.. What we came up with was not a far cry from what has been released, and a lot of what we recorded was used in the final mix.

So.. like I said.. I'm very proud to have been a part of these projects.. But it's funny because when we're actually working in the studio, I don't have these feelings.. the need to pinch myself, or any of that. I am working. My priority is to accomplish the goals the artist has set for the time we have together in the studio, and to make sure he or she is comfortable in doing these pursuits. It's really that simple. This is the case with every client and every project I work on.

Mostly, I'm proud to have a career doing something that I love. It's very gratifying to wake up and read an article about a record that I helped make. Sometimes it makes my dream job a reality.

Here are some other artists that are about to or just have released their most recent recordings:

Bring it to Bear - Too Many Books out now

Speedy Ortiz - Major Arcana out July 9th (preorder now!)
Aye Nako - Unleash Yourself - out now

Bunny's A Swine - Calling Out - out now

These are all high quality works and I recommend improving your summer road trips by buying all four of them!

Wednesday, June 12, 2013

1 year of Sonelab!

Hello again.

I just got back from a long overdue trip out to Foxboro, MA to visit Joe Pires and Mercenary Audio. You can go to their website and look at once was.. but you can no longer buy anything from them. Sadly their day is done. Most people in field of audio engineering have probably purchased a piece of two from Mercenary, and if you haven't I'm sure you wanted to! I got to know Joe through Woolly Mammoth Sound. I've managed to get him to western Mass a few times over the years to tend to some matters at Bank Row and Bisquiteen. Good people, good resources.

Joe Pires at his station at Mercenary.

Sonelab celebrated our 1 year anniversary in May. It's been a fantastic year and we're very glad to be here, offering our services to the local community and beyond. We decided to host a huge party and invite all of our clients, friends, and family. The day went by quickly (as about 100 people passed through our doors) but luckily, Julia was able to snap some pics of the antics.
Frozen Corn putting a bow on the party.
from left to right: Laura Max: mother in law, Susan Rogers: mom! Manning the grill!
Partied out? Ian St. George, Jamie Pagana, Christ St. George, and a proud Matt Krefting.
Young Vega, Erika, and Matt, ready for some tabouleh.

Anyway.. back to some gear and rock-talk!

The reason I went to Mercenary was to pick up a pair of Urei 509 EQs. They were originally console modules. They were sold to Electrical Audio, racked, powered, modded (John Hardy 990 opamps are the make-up gain), and somehow ended up back at Mercenary. Now they're at Sonelab, racked in a beautiful Electrical Audio rack. I've already used them to add BITE to lead guitar tracks.. Here they are:

One channel of the new Urei EQs in their Electrical rack.

As I was saying, I went to Mercenary to pick up said EQs - I ended up loading up my car with a bunch of other shit that I'm ecstatic to own! The thing I'm most psyched about is this RCA mic stand. They certainly don't make them like they used to:

A teaser of this beautiful stand..
Other items picked up and added to Sonelab's gearlist: Demeter Tube Di (love these things!), a single Auratone for mono reference, and Neve 1260 line amp with Ives microphone transformers on the input making them KICKASS Neve germanium mic preamps.

So that's gear world.. Here's rock world..

Brooklyn's Aye Nako's new LP is OUT! We recorded this in late autumn 2012. They totally rule.. so check it out.. oh and they gave me the absolute sweetest credit I've ever gotten:

Bunny's A Swine's new record has been through mastering, test presses- the whole 9 yards. They're awaiting the final test press, the actual pressing, and it's OUT. The cover art is done, and it's ready. "Calling Out" is a fine, fine record.

Violet Clark of Grand Dutchy fame game in to record a BUNCH of stuff for her new EP. For the first time, I was able to mix a bunch of it. It was a ton of fun! Some of it should be trickling out soon.

Pineapples came in to finish tracking and then to mix their forthcoming EP. The songs have been previously recorded, but not all released. The band decided they wanted to get back together to recut their songs. It's got a great range of really heavy Sabbathy moments to straight pop-rock with 12-string guitar hooks. I love it!

The big one in May was Doug Ratner and the Watchmen. We (the band, the producer Ben Jon, and myself) really buckled down and hammered this one out. We spent 5 days getting basics, edits, punch-ins, and rhythm guitar tracks done. The record was demoed and rehearsed with their producer before hitting the studio, but even still, some of the songs took turns that weren't exactly planned. It was a lot of fun to see this happen, after listening to the demos. There was no shortage of awesome sounds to go around. I took some snaps of the bass rig because it was freaking AWESOME sounding!

The Bassman was clean and the Traynor was distortion. Amazing tone!

No shortage of excellent guitar tones here, too!

At the end of May, I made a visit to ol' Bisquiteen to work with the infamous Warblers! We had two days in a row - we totally rocked it, out meeting and exceeding our goals! It's raw, garagy, and LOUD. More fuzz!!

Bisquiteen's lil API
Bisquiteen's BIG C12!

June is here and it's rocking.

Lord Jeff came in to finish their forthcoming record. Cut vocals, comped leads, and mixed. The record sounds REALLY good and the songs are fantastic!

Bill Nace and Paul Flarety came in to mix a new record they recorded as a quintet with Chris Corsano, Dredd Foole, and another sax player, who's name I don't know (sorry!). It was recorded at a studio in Hadley and brought to Sonelab for mixing. It's full on, HEAVY improv. Blistering, even!

Dave Sweetapple came in to mix a single for his new project Skaeling Blod, featuring Terri Christopher on drums, Gurtle Kjellson providing vocals and moog synthesizer, and Tim Lehigh on electric guitar. The song was recorded at Bisquiteen just over a year ago, during the tracking of Dinosaur Jr's I Bet on Sky record. Dave and Terri snuck in for a short 4 hour session to grab the basics. Since then, the tracks have literally flown around the world and came back here for mixing. We're going through revisions at the moment but it's damn close and it's goddamn heavy!

The rest of June is packed with awesome stuff: Doug Ratner mixing, Dredd Foole and Ben Chasney collab (!!!!!), Yek Koo tracking and mixing, and more great stuff.

One of the things I'm most excited about, is to be a part of the Potluck Audio Convention in Tuscon, Arizona. I'll be speaking on a panel dedicated to vocal recording. Often times, it's the most important part of a mix. It'll be great to get into the detail of it with a panel of engineers who's experiences vary quite a bit. We will all learn a thing or two, for sure! If you're considering attending this event, I suggest it. Though I've never been to one, I hear it's always a blast!

I have plenty of openings in July and August. If you're looking for last minute studio time, please reach out.

Enjoy spring. See you 'round.