Thursday, January 12, 2017

HNY 2017

Long time, no post.
There's been so many awesome sessions happening, I simply haven't had time to post! So here we go...

Since I last posted, I started a record with Boston's Vundabar. They're awesome! And they're touring a lot so look 'em up and go see them when they're in town. They have great dynamics and raw energy. Their songs are fierce and fun and their sound has bite and grit. None of those words mean anything so just go check them out. They rule. They've got a pretty good following and for good reason. We cut the record in 2 days and mixed it on the 3rd day. Since then we've met a couple of times to refine mixes and we're in a REALLY good place with them. It's a good'n! For the first time in my life, I added EQ to the mix buss. I'd always thought about it but never really wanted to mess with it. It just seemed so radical and best left to the mastering engineer. Vundabar wanted more presence out of the mixes and rather than adjusting EQ to every source, I decided to use my Universal Audio 509 passive EQs to the mix. I added 2 db of 10k and it was MAGIC!

Here it is! It sounds so good!

Around this time, southern CT's Death Black Birds came out to record their new full length. It's rock with a nod to the "alt-country" thing. Some of their songs remind me of the sweetest moments on Neil's Ragged Glory.. others are a bit darker. The song writing and playing is tops but still maintains a great vibe. They're another very dynamic band and singer Greg Moran's vocals range from whisper-quiet to loud, melodic yells. Each Death Black Birds session begins with a visit from Wood and Weather Drum Shop. They're great for drum repairs, sales, rentals, sessions, etc. All around high quality.

New Hampshire's Scuzzy Yeti came down to make their new record. It's great, heavy, riffy, rock. It's got a bit of an old school vibe to it but still heavy as f*ck! They play through LOUD 2x12 open-back combos, which is a really rad contrast to a lot of bands in their genre, who tend to play through closed back 4x12s. Amazing the difference, especially once you start stacking up guitar tracks! They just released to EP and it's absolutely worth picking up.

Scuzzy Yeti Overdub rig. All rhythm tracks were done with open-back cabs, some, not all leads with 4x12.

Kris Delmhorst had me come up with Verdant Studio in Vermont to record her forthcoming full length. We spent three days cutting basics and working through a large batch of songs. Jeffery Foucault is the producer and lead guitar player. Alex McCullough on pedal steel, Jeremy Moses Curtis on bass, and Bill Conway on drums. We had a great time at Verdant and have been hunkered down at Sonelab finishing mixes, overdubs, and edits. We might have done the very last session for this beautiful record tonight. Kris requested an RCA 44 for lead vocals and luckily, there was one for us to use at Verdant. I really loved the sound and am pretty sold on using ribbon microphones (44 in particular) for certain singers. It was a first for me. Very cool!

In the days leading up to Christmas, I worked about 70 hours straight with Elder. If you're not familiar with Elder, they're an amazing band who play heavy music on the more progressive side of things. They're one of the best in their genre and a band I've worked with since their second record. We finished their 4th full length at the end of 2016 and I must say, it was an amazing experience. They feel like family to me at the point because we've made so much music together and ALWAYS have an amazing time. Check out their record Lore and get psyched for their forthcoming record. It truly rips. The Obelisk dropped into Sonelab to visit Elder and check in on the sessions. Here's the article. It's extensive and very cool! Great studio shots!

We all agreed that this record needed more bass than Lore, so we used more amps.
There have been many more sessions between all of these but these ones each had unique significance so I figured I'd write about them. In the works are new records from Wydyde, Bunnies, Young Tricksters, Rysev, Bill Nace and Samara Lubelski, and many many more! Here's some gear stuff I'm currently psyched about:

I tested and wrote a review for Tape Op for the Hilbish Design Beta Preamp. This is more or less an exact clone of the Sunn Beta Preamp, commonly associated with King Buzzo's guitar sound. Check it here.

Here's a pic of the Hilbish Beta Preamp!

I picked up a pair of AEA's redesigned RPQ500 mic preamp. It's amazing with ribbons, condensers, and dynamic mics. It's clean but can be driven a bit. What I've noticed about them is since they're designed to couple with ribbon mics, they have loads of clean gain and tend to not color the microphone you're using. In the case of a Coles 4038, for example, I think that's an invaluable tool.

I also got the Warm Audio EQP-WA, which is essentially a clone of a Pultec EQP-1A. I've used the original Pultecs a fair amount over the years and I've always found them to be very useful tools when trying to sculpt a sound. Too harsh? Attenuate the highs, too wimpy? Crank the lows! Too boomy? Cut the lows. It's kind of a problem-solver EQ, though I used it as a sweetener on ALL of the guitar tracks on the Elder record, and was VERY happy with the results! It's always been nice to use for blown out drum mics. Heavy compression sounds FUN on drums, but when the cymbals start to get loud, it can start to get gross. Sometimes I'll put this EQ in before the compressor and attenuate high frequencies to avoid this problem. It's pretty fun.

Here's the EQP-WA and RPQs above it. Note the killer Symetrix comp below it (not kidding. it's cool!)

About two years ago, someone gave me an old Allison Research rack with 6 KEPEX gates and one Gain Brain. The other day, I was emailing with another engineer and he inspired me to plug into the Gain Brain. I've read about them for years but never bothered to patch into mine because I have so many compressors that I love. Well, the hype is real. These things rock. So far I've used it on lead vocals and guitar overdubs with great results.

Gain Brain on far right

Two gear things on my radar are:

Matamp GT120 clone made by Hilbish Design. It's currently being assembled by Jim Metz (local amp tech). It will be the loudest amp I own by far. Coming soon to Sonelab

ADR SCAMP S01 compressor pair. I just ordered these beauties. I'm hoping they'll be in the rack by next week. They're basically Compex compressors without the Gate/Expander. Absolutely psyched for these!!


Sunday, June 26, 2016

Summer sessions about to start!

It's been way too long since my last update. With a full/awesome forthcoming summer, I thought I'd take this time to reflect on the past few months.

Life in and out of the studio has been busy as the seasons have changed and records start, finish, and get a release. It's the cycle, man!

Since my last update, I had just finished work on the most recent Parquet Courts LP, Human Performance. It's out now on Rough Trade and it's amazing. Two songs on the record were recorded at Wilco's Loft in Chicago, two from Sonelab, and the rest were the fruit of our two-week stay at Dreamland Studio. It's a fantastic record that I'm proud to have been a part of and very proud of the boys! They made a killer record!

The last workday at Dreamland ended and I left the studio as quickly as possible so I could get home, get a little rest, and get started on Dinosaur Jr's Give a Glimpse of What Yer Not. I think I had about 12 hours off between the two sessions! It's another amazing record. Out of the four (4??!!) Dino Jr records I've engineered, I have to say, there's something special about this one. I think it sounds great. The whole band is dialed in, and I think the engineering/mixing situation kicked ass this time around. The songs are great and it's a tight record that you'll probly want to listen to a couple of times in a row!

Between Dinosaur Jr sessions I spent my time at Sonelab doing some more awesome stuff.
Some of our amps after a good cleaning.

Here's a nice clean pic of some of Sonelab's amps. We have more, just ask and I'll send a list.

I finished the Winterpills' latest offering: Love Songs. It's a beautifully written and recorded album if I say so myself. From the lyrics to the thunderous drum sounds Dave dials in, it goes deep and is as fun to listen now, as it was when we started recording it in November 2014! It's absolutely worth the $15 for the LP here! It took us about a year to make and was exciting and almost easy to work on all the time because the performances and the arrangements were so right and well suited to the songs, I didn't really need to fuss around with sounds much. It all fits and feels great :)

Mal Devisa's Kiid was recorded, mixed, mastered, and released in a matter of weeks. The range on this record is as intense as Mal Devisa's performances. There are songs with nothing but a single bass guitar and vocal. Others have drums, doubled bass, and stacked vocals. Some songs are crammed with tiny edits, gridded beats, and a hooky chorus while others are one live performance captured at Sonelab. It's up on bandcamp for free for who knows how long so listen to it!

Crazy reamp: vocal through Stylophone speaker, through tele pickup, through bassman, through Holy Grail, into the live room, recorded with a room mic at the opposite end of the room. Deja (Mal Devisa) requested some far-out verb on vocals. This was my interpretation of it. 

I just finished up an EP with Lou Barlow. It's not far off from Brace the Wave in terms of arrangements: Baritone Ukulele, Korg Synthe-Bass (which has become one of my alltime favorite instruments), and Lou's beautiful and huge layered melodies. I'm not sure when it comes out but it's another continuation in Lou's bountiful and always-satisfying catalog. It presented some challenges in the mix stage that I wasn't able to put my finger on, but when all was done, with a bit of space, Lou and I were both impressed with the results. It definitely usues Brace the Wave as a starting point and launches from there..

This thing sounds CRAZY cool!

NYC's Wild Pink came up for a week of recording, and a few days of mixing. This record floored me in ways I wasn't expecting. I heard the demos and their previous recordings. I heavily dug them but wasn't expecting things to come together the way they did. The songwriting is amazing and really drew me in, the band's sense of dynamics and supportive playing strengthens the material. I'm ecstatic for this release! Awesome fact about this record: most of the vocals are six takes layered together. It sounds beautiful!

Philly's Left and Right are truly one of my favorites. They came up and recorded/mixed their forthcoming LP. It's a monster. They completely upped the anti on this recording.. I think we all did! It's a great progression from their last record musically and sonically. This band has been touring hard and writing as time allowed. This record shows that it's becoming more second nature to them. I believe it'll be out this fall! Definitely one of the best records I worked on so far for 2016.

Last week I finished the forthcoming Suitcase Junket record with Matt. Somehow Matt has managed to build off of his incredible setup even more and add more tools, amps, instruments, and abilities to his roster. On the previous record we made together: Make Time, we recorded everything in an iso room at Sonelab. The idea was if we recorded in a smaller room, we'd have more control over each aspect of his setup. This time we decided we wanted to capture the large live room in the studio so we put Matt where I'd put a drummer. I put his guitar amps in the iso rooms I'd normally put guitars. We approached this kind of like a more traditional rock recording and I think in some ways, it comes off that way. It's still all Matt, all live, being the Suitcase Junket. If you haven't checked out this stuff, I'd highly recommend it!
Here's Matt's setup. It's hard to capture this all in a photo so go see him!
There are so many more sessions I want to write about: Young Tricksters, Violet Clark, Sneeze, Death Black Birds, Emerald Comets, Deluxx Folk Implosion, Nace/Corsano/Flaherty, and many more... these are all projects I'm extremely excited for.. but I'll have to fill you in later.

If you're interested in booking some time with me, please feel free to write. August has a few spots and September and beyond are all 100% open.. so drop me a line.. thanks!

Friday, November 13, 2015

fall update

hi everyone.

it's been way too long since i've made a post on this blog. it's mostly because i've been pretty busy: a good thing.

Lots of great projects have been happening at sonelab, but also, in other studios. Since my last post, a ton of projects I've been lucky enough to work on have come out. Here's a cool list of some of them. I should point out that these bands are 100% quality and I'd heartily stand by the music on these records!

Lou Barlow - Brace the Wave (Joyful Noise)
Parquet Courts - Monastic Living (Rough Trade)
Kindling - Galaxies (No Idea)
Ex-Breathers - Past Tense (Exploding in Sound/Hex)
Jake Meginsky - Vandals (Open Mouth Records)
Sweet John Bloom - Weird Prayer (Tiny Engines)
Destroy This Place - Animal Rites (Forge Again)
Dead Painters - Aluminum Gold (self)
Bedroom Rehab Corporation - Fortunate Some (Self)
Thee Arcadians - We've Come for Your Parents (Feeding Tube)

Most of your reading this blog have probably spent time with me in the studio. For those who haven't and are curious about what it's like, here's a little promo for Lou Barlow's newest record. It was made by Lou and Adam Harding. He's done some incredible work in video and in music. check him out!

Here's Lou's promo video, mostly filmed around Sonelab during the making of his new record. It's funny AND cool!

Here's a brief bit of news:

I spent the entire month of October working at other studios. It was nice to have a break from Sonelab! I felt fresh and ready to get back in there! The first half of the month was spent up in West Hurley, NY at a studio called Dreamland. It's been on top "top 5 studios to work at before you die" list (you all have one of those, right??), and so it happened, with NYC's Parquet Courts. We spend 14 days record their forthcoming full length. It was an amazing time. We had fun and made one hell of a record. Got pretty far out, too....
Here was my view at Dreamland. This API sounded amazing!
PC drums in the church
Some cool dudes, right here. Note andrew jammin in the background.
was nice to have 8 pultecs hangin around :)

The second half of the month was spent in western Mass at a different studio working on a different project. Now I'm pretty much back to working at Sonelab and I love it!!

December, January, and Feb all have some opening, but oddly, March does not. Please write me if you'd like to talk about your project, book a session, or just talk shop. Thanks!

Monday, February 9, 2015


another post for ya, here..

it's been a while so here we go..

I'd like to thank Jeremiah Hester for helping me with some blog stuff. He runs and Thanks J!

January and Feb of 2015 have been full of great releases that I'm proud and excited to have been involved in. Here's the list:

California X - Nights in the Dark (Don Giovanni)
And the Kids - Turn to Each Other (Signature Sounds)
Saffron Pistils - Too Cool to be Popular

In other news, Sonelab and I were discussed in a really nice article Pitchfork Media wrote about Western Massachusetts music. It covers a small portion of what we have to offer, and it's a good portion, too. There are tons of amazing bands in all genres here in w. Mass so if you liked what you read in that article, dig deeper knowing you'll find a lot more nuggets! Read it here!

Since my last note, I've started and finished a bunch of awesome projects. Sonelab also picked up some cool new gear, of course!

I'm really excited about my newest 500-series units. It's a pair of Helios pre/EQ. They've been amazing on guitars (acoustic and electric) and overheads. I've also been using them as part of my drum buss, which has been really cool !

The Helios pre/EQs are the ones in the center. Very cool pieces!

We (finally) got a pair of M-Audio Sputnik tube mics. They've been on my wishlist for years. They are budget-friendly large diaphragm tube condensers with three polar patterns and a -10 db pad. The general population of recording engineers seem to receive these microphones as an extremely good value. I've only used them on cymbals or drum overheads and I'd have to say they do a great job with both duties! I'm looking FWD to trying them on more sources but baby steps, you know? haa. Honestly, Mark and I are both addicted to using these for overheads. Until we get sick of them, experimentation has ceased.

Sky high M-Audio overheads. This was for a Dead Painters session.

Got more pedals: An original blue LED Fulltone OCD. I've wanted one for years and simply hadn't seen one for a reasonable price. So one popped up for a good deal and I grabbed it. It's definitely got a different sound. More lows and highs.. err.. less of a midrange crunch (ala Tube Screamer, which I dislike). A website was offering a 'too good to be true' deal on a Fender Classic Series Phaser so I grabbed one and it's actually pretty great for sweeping phaser sounds on guitar! I also decided that I should grab an old MXR Micro Amp. It's a late 70s revision and sounds very cool! It pairs nicely with the Rick bass below..

1974 Rickenbacker 4001 bass will be found at Sonelab now.

The Rick is amazing and really cool through the MXR Dist + and Traynor!

I also decided I wanted a cool vintage Vox, but that an AC30 would be far too expensive so I went ahead and grabbed a vox AC50! It's incredible! Very much the classic Vox sound.

Vox AC50 in all of its ripped-cloth glory. The sound is quite nice.

We also outfitted an old 2x12 with blown speakers. It pairs very nicely with the Vox!

These two speakers sound fantastic. A big improvement from two blown vintage 30s!

Last thing I got is a really cool old 12 string electric. It's been set up by Trevor Healy and has already been on sessions. It lives at Sonelab but is fun to bring home..

Nice setting for a nice guitar.
Of course, any piece of gear I'm posting about lives at Sonelab and is there for our clients' use. Sometimes bands want to branch out and sometimes they want nothing to do with their own gear. We like to keep good backline around for all sorts of reasons.

Boston's The Sun Lions came in for three days to bang out 6 tunes. They came in sharp as tacks and we completed tracking and mixing with flying colors. Definitely a great band! There sound reminds me of Marked Men at times, which I appreciate greatly! What was cool is they'd never heard of them before I mentioned it and now they're fans :-))

Connecticut's Oughts came in to record 6 tunes for their EP. Dig a song here. We spent two days on this batch of songs and it was way rad!

NYC's Pineapples have been in and out of Sonelab for the past two+ years. They cut a bunch of songs, finished them, and then wrote and recorded some more. We've been chipping away at it over the last 6 months and we're really closing in on the finish. This band has been playing together for a very long time and it shows in their chemistry. They manage to blend a lot of different sounds and parts into their arrangements. You'll hear punk (ala wipers), indie rock, heavy blues, and pop blended in a great way. Kevin's ever-expanding amp collection blows my mind, too!! Marshals, Fender, Carr, Hiwatt, etc..

Potty Mouth came in to record 6 songs, as well. What's with bands coming to record 6 songs lately? hahaa.. It was really cool! Our goal was to make things sound big, and we did! It was kind of difficult to not go overboard. I've always loved the charm of their fairly straight forward recordings so I didn't want to mess w/ that too much, but expand the sound a bit. I think we found that cool balance. They wanted me to help with that, but they also knew exactly what they wanted.. so it was a really cool team effort. Two of the songs will be on a 7" TBA and the rest for a future LP :)

Brooklyn's Dead Painters came in to track their forthcoming full length. We tracked 12 songs in 4 days and we begin mixing this week! It's great indie rock ! Moments remind me of Bunny's A Swine and others remind me of Grandaddy and others remind me of Bill Callahan/Smog ! Real cool bunch.

Easthampton Savings Band came in to track/mix two songs in a day. We did it and it was AWESOME. I'd never seen/checked out this band and I was kind of floored by them. The coolest thing (technically speaking) was the vocals: I had Jenna hold an SM57 and stand wherever she wanted and do her vocals live with the band. She ended up standing really close to the drummer. I kind of kept my fingers crossed that there wouldn't be too much bleed and that if there was, we'd deal with it accordingly. I used a quality mic preamp and compressor as if they were to be keeper vocals and it worked like a charm! I look fwd to deploying this technique with the next band that has a singer that's loud and AWESOME on every take!

Western Mass's Winterpills came in for a day of recording. We really had a blast. I was getting over a nasty headcold (which I did not pass on to the band), but it didn't seem to affect things. Setup took a long time because we had 5 people going for 100% keeper takes live. Two acoustic guitars, two vocals, an amplifier for one of the acoustic guitars, bass, electric guitar, and drums all live. Things sounded and felt AWESOME. Most of the Winterpill's recordings are done by Phillip, at his house, and labored over for a long time. The session we had at Sonelab was quite the opposite. It has a different sound but the songs still feel fantastic!

Last but not least: the new Sweet John Bloom recording fucking kills!!! I don't know when/how it's coming out but I know that it 100% definitely is in 2015!

So far 2015 has been ragingly good!

The year started out with a great four-day stretch with Bedroom Rehab Corporation. The band has definitely grown and evolved since our last session. Things have gotten swampier, darker, and heavier. This is a four-song EP that covers as much ground as any full length. I'm looking forward to its release so I can spin it on my turn table at home! Here's part of the recording rig:

Part of Adam's rig. We anded up running the Laney through the 2x15 and the Hovercraft through the 4x12.

Brooklyn's Charly Bliss came in for two weeks to record and mix their forthcoming full-length release. First of all, we had an amazing time working together, second we got really cool sounds, and third, we made an excellent record. If you haven't heard them yet, please check them out! 

The two amp/cab rigs used for the entire record. Very cool, indeed.

I'm pretty sure we used it all..

Kindling, a product of western mass, and five really nice people came in to record their forthcoming single. Three songs in about 7 minutes. Very big shoegaze guitars while the bass and drums chug along.. It was a pretty loud session and was a ton of fun to work on!! 

Jonathan's rig. Very loud!!

Stephen's rig: Blonde Bandmaster and two twins. Oof that's loud!

There a lot more happening, too. Some of it is top secret, and other things are in-progress and yet to begin. I'll fill you in next time. Thanks. Rock !

I'm in the middle of a really awesome two-month stretch but have some time available in March and April so if you're looking for some time or just wanna talk gear or something, drop me a line!

Wednesday, October 8, 2014

Life's moving quickly


It's been a bit too long since my last post. Sorry to you loyal followers.. all 3 of you. haha.

Before I get cookin with updates:

Very recently, I saw I was nominated for "Producer of the Year" by the Boston Music Awards. This is something I didn't expect for two reasons: I don't live in Boston and at no point in my career did I ever concern myself with the possibility of being awarded for the job I do. Ask anyone else in the music business: staying "in it" is tough, making a living doing it is very difficult, and being recognized for your hard work is beyond comprehension.. So yea.. It's cool. Ha! I'm psyched for the ceremony and catch up with old friends and see them all get awards! You can check everyone else out at !

The studio has been absolutely bustling. It's hard to keep up and I'm considering booking a few days off for "office work" meaning catching up on gear maintenance, patchbay upkeep, cleaning the studio, and of course the never-ending task of mix revisions.

California X has a new record. It's complete, mastered, delivered, and absolutely excellent! Look forward to this release in 2015.

Tonequest begins.
Lemmy is happy. Tonequest is over.
We used big drums, because we wanted them to sound big. And they did!

Caitlin Canty came in to mix an EP and cut a bunch of duo songs with Jeffrey Foucault. The EP tracks came from what we recorded in late 2013. Really amazing stuff.. and the sound is cool. Pretty old school vibe. We mixed to the Ampex 440. Her new record is due to come out in earl 2015 and it's truly beautiful.

It sounds a lot like it looks: cozy.
Phase was a concern but not an issue.

Krill, a fantastic Boston band came in to cut their new LP, too. It's mastered and ready to be released. It's really amazing. Goes from sparse to dense with very elegant flow. Each song tells a story that I've never heard before. I can't wait for this to be heard!

This is Krill.

Rabbit Rabbit came in and cut a record in a day. We mixed it in 5 hours. 95% live. Killer Northampton band. Jeremy Dubs on drum is always a treat. Also mastered and waiting on an early 2015 release.

Jeremy Dub's kit at Sonelab. Love those old ceilings!

Elder, a great heavy rock/"stoner rock" trio from Boston/Eastern Mass came in for a killer session in August/September. We had fun and made their best record yet. I can't wait for this to be released ! We went for BIG and we got it!! It's 100% done. I am listening to it right now.

This what an Elder session looks like. Not a pretty picture! ha ha
Not sure if this is bass or guitar setup.
I think we used everything here, except the Traynor.

The Glazzies are in working on some more songs. They've got Murph playing some drums and it's sounding HUGE. I used some cheap-ass mics (sent through really nice gear) to get a killer bass sound on this! check 'em out. 

Murph kit for Glazzies session.
Previously mentioned "cheap mics" on a bass cab. Sounded RIPPING!
Left and Right has a new tape out on Infinity Cat Records. I recorded it in early 2014 and I love it. I listened to it on the way home from a session tonight.. really loudly.. and I think it's 100% worth buying. Especially for the note you may get w/ your tape. Thanks guys !

Now it's October and I've got another pile of amazing projects coming up. I've got Sweet John Bloom mixing this month, Potty Mouth, Boston's Sun Lions, Bedroom Rehab Corporation, and much much more awesomeness to get us into 2015.


I purchased another Anamod 660 to make a pair. It's been incredible to have the pair. I submixed the drums on the Elder record through them and the mastering engineer even said "dude the drums sound ridiculous". I also mixed a record through them for the first time and I completely loved it. They're very different than the Compex and although they're also "Vari-Mu" style (quotes because Vari-Mu implies there's a tube responsible for compression but the Anamod 660s don't have any tubes) they respond VERY differently than the Manley Vari-Mu. I usually let the Manley compress at around -2db most of the time while the 660s really love to swing around the transients in a very smooth way. It's been a pleasure to have them for mixing but I've also gotten some amazing drum sounds with them. Overheads and cymbals can be very explosive in a mellow way, if that makes any sense. I recorded acoustic guitar through them recently and absolutely fell in love with the compression. I have a lot of great compressors at my disposal: Neve 2254, Distressors, Compex, a pile of old Altecs, and more. They're all great on acoustic guitar but the Anamod 660 reminded me of a VERY special compressor: Universal Audio 175b. This is also a Variable Mu compressor that is sort of known to be like a tube version of the 1176, though I think it's much bubblier sounding. It pumps and breathes in a really musical way like nothing else. The 660 does this in a very convincing way!!  

It's weird to mix through 500 series stuff.. but these Anamod 660s are really awesome!

I also got a new guitar amp: Hovercraft Dwarvenaut 20 MK2. It's a take on a Matamp or Orange OR120 type amp but it's much lower wattage and is made out of recycled amp parts. I'm not sure what they're recycling (components, chassis, etc) but it doesn't matter. This amp is insane. I got it on a Monday, tested it out on Tuesday, and then 20 minutes later, California X walked in the door and decided to use it on their remaining guitar overdubs. I ran it through our 60s Marshall 4x12, put the u67/421 on it and let it rip. It sounded great with a Ram's Head Big Muff, too !!!

Hovercraft fits in.

Sonelab purchased a pile of old Morely pedals. I haven't plugged any of them in yet.. but they look cool!

That is a pile of Morley pedals.

We also got a Divoli electric piano. This is somewhere between a Wurlitzer 200a and a Rhodes. Also.. I have not had time to plug it in but Mark tested it out and said it sounds cool so I'm psyched for this thing. If you know anything about it, please write me! There is little info on it but we do know that Hawkwind may have used it for something at some point in their career.

A few months back, our friend Travis Atkinson (Engineer, tech, mic seller, awesome bro) sent us a pair of AEA N22 microphones to demo. We held onto them for about a month and they found their way into our workflow so we grabbed a pair. These are active ribbon microphones, not unlike the Royer R-122. The sound is much more present than the 122, so there's not really any need for a second mic. They're amazing on toms, bass drum, and hi hat. They have a nice strong null (like more bi directional mics) so when placed correctly, you have a very clean picture of the instrument in question without a lot of junk from other instruments. I've been putting it on the beater side of the kick drum lately so the null is pointed at the snare drum and the sound is SO natural and solid without affecting the sound of the snare drum via bleed. Tons of output (often need an inline pad) and plenty of SPL room so mashing it up against a 4x12 or tom is totally legit!

Alright that's all I got at the moment. Booking for 2014 is neatly cooked. I've got a couple of stray days in December but other than that, see you in 2015!!

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