tag:blogger.com,1999:blog-62434961141558919202024-03-13T09:03:06.077-07:00Produced by Kol MarshallThoughts and techniques of an analog guy in the digital world.Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-6243496114155891920.post-48977314153098845752011-12-23T11:11:00.000-08:002011-12-26T08:32:26.031-08:00DB Sleez at Leopard Studio<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-SwXE3qzOxTQ/Tvif7mf1ZHI/AAAAAAAAAJc/Yxspcj8GdH0/s1600/IMG_0725.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-SwXE3qzOxTQ/Tvif7mf1ZHI/AAAAAAAAAJc/Yxspcj8GdH0/s320/IMG_0725.JPG" width="320" /></a></div><div style="text-align: justify;">Recorded and mixed local "sleaze-rock" band DB Sleez at Leopard studio this month. This hard rockin' quartet from Poughkeepsie, NY contacted Leopard Studio about recording there, and Leopard owner Jimmy Goodman called me in for engineering and production work because he felt it would be a good match. I went to see them in November at The Chance Theater and liked what I heard. These guys are loads of fun in that classic 80's glam-metal style. They don't just look the part, they live it! When I heard their songs "Sixty-nine" and "Could Have Left Me A Beer" I knew that this was going to be a fun project.<br />
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</div><div style="text-align: justify;">On day one we tracked drums and rhythm guitar for 6 songs live with lead singer Chaz putting down scratch vocals in the control room. In the drum room I used my Shure SM81's as overheads, Electrovoice ND-868 on the kick, Shure SM-57 on the snare and Sennheiser MD-421's on the rack and floor toms. Also had a single AKG C-414 as a room mic. The overheads ran through API 312 preamps and then were compressed through the Distressors, the kick was also API and compressed with a DBX 160A. Snare mic went through the Avalon VT-737. Tom mic pre's were the Soundcraft Ghost. As we were getting drum sounds I soon realized the importance of the cow bell in this band's sound ("I say more cow bell!") so I mic'd that with an SM-57 as well. The guitarist, named X-Bomb, played through a Marshall guitar rig that was mic'd with a 57 and a Neumann TLM-103 through SyTech preamps. Drummer Jesse and X-Bomb played tightly together and grooved really well even though X-Bomb was a recent addition to the band, and it was decided that we would track basics without a click, to give the recording more of a live feel.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">By the end of day one we felt we had had a very successful tracking day, but after further review on day two we decided to re-cut one song, called "Rock And Roll Sleazy Mother Fuckers". After re-cutting those we went on to overdub bass guitar. Bass player Kenny C. rocked the house with blistering fury playing a Firebird bass through an Ampeg SVT rig. I ran a DI and mic'd the cab with a Sennheiser. After tracking bass X-Bomb was up again for overdubs. We doubled rhythm guitars and tracked leads. The leads really pushed the band's sound over the top, with X-Bomb placing awesome fills and licks throughout the songs as well as in the solo breaks. By the end of day 2 all the instrument tracking was done. Over the course of the following week Chaz came in for a couple of 2-3 hour vocal sessions. I had recommended tracking vocals this way because I wanted his voice to sound fresh on every song.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We spend the next full day session mixing, and the band brought copies home to listen to. Some changes were discussed and a couple of short tweak sessions followed until we had an ideal mix in the can. I took the final mixes home and began mastering them in Izotope Ozone4. I believe the album will be completed before the new year and released in January. Great guys to work with and a really fun project. ROCK ON! \m/</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-13398180499922187712011-08-18T11:11:00.000-07:002011-12-26T08:28:17.532-08:008.18.11 Overdubs at Leopard<div style="text-align: justify;">Swung back by Leopard for a couple of hours to add some overdubs to Lydia Kavanagh's song "It's Christmas". Her original demo was sparse, and wonderful that way, so I didn't want to over do it. The demo had a synth piano doing the main accompaniment and a Melodica doing a counterpoint. The synth piano had a bell like quality that the real acoustic piano lacked, so I layered some of the same notes the piano plays with vibes. Used Leopard's Lawson L-47 tube mic through the Avalon VT-737 for the vibes, which gave it a very rich bell like sound. Also added a faint Glockenspiel part. Then I moved on to that counterpoint melody.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Although I do have a Melodica, I decided to try the part on the Hammond B3. I used the same three mics I had used on the piano. the two 414's on either side of the Leslie, and the Sennheiser kick mic on the B3's internal speaker, the 414's through API 312 mic pre's and EL8 Distressors as before, This produced a very full sound. Took me a few takes to get the right feel, using the leslie ramped up and down for accents. Once I'd gotten the part down I went back and overdubbed the bass pedals (I probably looked pretty silly crouching on the floor playing them with my hands, but I'm no organist, and hey, I was alone).</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Finally I added some very simple percussion, a shaker and a Tamborine, not throughout, just in places. Satisfied I headed home to play with some rough mixes. I've sent them off to her and am awaiting feedback. I like how the mixes sound, but honestly I wouldn't be surprised or upset if Lydia decided to just stick to piano and vocals because the song is really so good it needs nothing else.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-91293683139206091702011-08-15T11:11:00.000-07:002011-12-26T08:27:54.333-08:008.13.11 Lydia Kavanagh at Leopard Studio<div style="text-align: justify;">Worked with Lydia Kavanagh (of Golden Palominos) on a beautiful Christmas song she wrote called "It's Christmas" at Leopard Studio over the weekend. The song is so moving, both joyful and mournful, really tugs at my heart strings.When she first sent me her demo of this song, it's beauty actually brought tears to my eyes.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">After picking her up at the train from the city we drove out to Leopard, arriving shortly after noon. The primary accompaniment for the song is piano so I set up a stereo pair of AKG C414s under the piano lid in an X-Y placement and I put a third mic, a Sennheiser underneath the sound board. All the mics went to API 312 preamps. The 414's were also mildly compressed through the Distressors. It had been so long since she had recorded the demo that we had to re-learn the piano part. There was some debate as to whether or not to play to a click track, beacuse of several tempo retards during the song. Lydia played through it without a click, and then I learned the parts and played through with the click, mindful to retard insomuch as possible with the click. We decided to use my piano track so that we would have option of using the tempo grid's editing options later.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Next I set up for tracking Lydia's vocals. I choose a Neumann TLM103 and patched it to the Avalon VT-737 with mild compression and no EQ. Lydia's voice doesn't need any help, really. She always sounds wonderful and the Neumann sounded very natural on her voice. We ran through the lead vocal track a few times and then listened to the various takes, taking notes of which takes we liked best. Once we were both happy we'd got it I made a comp track from all the best bits, and we moved on to backing parts, which went very quickly.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We were about to break for dinner when Lydia noticed that her dog (a darling little cockapoo) that she'd brought up with her, was acting a bit listliss and disoriented. We were both gravely concerned, so I rushed them both to the vet's office. Turns out the poor pup had gotten into something toxic while romping in the yard that afternoon, perhaps some rotting compost or a poison frog. It ended up being a long and difficult night for us all, with her dog needing overnight hospitalization. It turned out OK in the morning though. Doggie's fine. I brought them, both exhausted, back to the train and then headed back to the studio to to a rough mix, backup the files and tidy up the studio.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We may add some counterpoint or rhymical elements at a future session, but the song is incredably powerful on it's own and could easilly stand on that alone. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I have to say that despite the doggie drama it was a wonderful session. I have known Lydia since we were in high school together, had worked with her before, many years ago, and have wanted to work with her again ever since. Many thanks to her for making the trip upstate, it is truly an honor and a privilage to get to work with her on such a beautiful project! </div><div style="text-align: justify;"><br />
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</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-49181419547502466222011-08-01T11:11:00.000-07:002011-12-26T08:27:24.322-08:00Tape Op Magazine<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJljr3O_q5-YCauFuoGmIyd_6f8dt7_vtPi2GO00thO2xQ_6ICfoXdCMfM_tB0u2pMuChq6nH51TTa1W7k7qY-m5qjrHfn9jQUU6cn7Fy0xTsJBZRETAxGFfelSlwYQunir7lWh_o2iDlE/s1600/logoheader.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="61" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJljr3O_q5-YCauFuoGmIyd_6f8dt7_vtPi2GO00thO2xQ_6ICfoXdCMfM_tB0u2pMuChq6nH51TTa1W7k7qY-m5qjrHfn9jQUU6cn7Fy0xTsJBZRETAxGFfelSlwYQunir7lWh_o2iDlE/s200/logoheader.gif" width="200" /></a></div><div style="text-align: justify;">I've been reading Tape Op for years, and have always respected editor Larry Crane for his skills and his opinions. This current issue, #84 has both opening and closing statements which I would like to publicly applaud, and if I may dare, add a thought to.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">On the contents page Mr. Crane always writes an intro, and in this issue he writes of the joy of working with good musicians; "Getting to work with players that intuitively understand and support a song with their abilities is a treat. At times I've felt privy to the best 'private performances' I'll ever see from my favorite artists". He closes the intro saying "I feel lucky." Yeah, Larry, I'll bet you do! Having polished more than a few turds myself, I certainly share your affinity for recording real talent! </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">He also closes every issue with a column he calls Larry's End Rant, and in this issue, in a piece titled The Big Misconception he rails on journalists who espouse the view that "anyone can make a record on their computer at home nowadays." He explains how a laptop and cheap audio interface are hardly all the tools actually needed to make a great record, which is largely true. The quality of the audio interface's digital converters has a huge impact on the quality of your recordings, as does all the elements of the front end (i.e. the mics, microphone preamps, etc). He goes on to talk about the room acoustics, monitoring, and so on, and also mentions having the skills to use these tools. He almost forgets to mention the importance of having "some amazing material" and "players and singers that can perform it."</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">This brings me to the thought I would like to add. I understand the point of this article is to say that you can't actually do everything on your little computer that it used to take a whole studio to do, so don't believe it when you read that in some other trade publication. Agreed. Ultimately, however, performance trumps it all in my opinion. In light of Mr. Cranes opening statements in the intro I would like to emphasize that at the heart of it all, what we're really in this for is great music, and great music does not require a $10,000.00 Telefunken microphone or the worlds most expensive digital converters, what it requires is great writing and great musicians.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Case in point: The Complete Recording Of Robert Johnson. The only recordings of Robert Johnson's music come from two sessions: three days in a hotel room in San Antonio in November of 1936 and two days in the back of a Dallas office building in June of 1937, using the most minimal of equipment, which was all that was available at the time. Eric Clapton has called Johnson "the most important blues singer that ever lived." These recordings are not technically stellar by any stretch of the imagination, in fact they sound awful. There is even some debate if the speed and pitch are correct. These facts not withstanding this is considered by many to be the greatest Mississippi Delta Blues ever recorded.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">My point: performance transcends the recording. Period. </div><div style="text-align: justify;"><br />
</div><a href="http://en.wikipedia.org/wiki/Robert_Johnson#cite_note-0"></a>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-87554228152001633072010-03-11T11:11:00.000-08:002011-07-29T20:52:38.563-07:00SUPER SECRET SUPER SPIES AT LEOPARD <br />
<div align="justify"><img align="left" alt="" height="300" src="http://www.kolmarshall.com/UmourSpies400.jpg" width="400" /><br />
Throughout 2010 I've been working on an Umour production, (see <a href="http://www.umour.org/">www.umour.org</a>) with a core group consisting of myself, Em, Lopudmouth Bill and Kane. We've joined forces with Fred and Sean Anderson of <a href="http://mysite.verizon.net/earlyanderson1/index.html">Anderson Modern Music</a> on drums and woodwinds, Chris Lough on bass with Leigh Ann Lough doing some vocals, and Lex Samu on trumpet. Also joining us for a few tracks of vibes is Jimmy Goodman of Leopard Studio, where we've been recording. The music is sort of a lounge/jazz/rock album from a nostolgic era that never existed. It's a concept album with a story line and charactors and many elements are intended to be used in a video trailer for a film that never gets made.<br />
We started off in March of 2010 doing basic tracks for the first batch of songs. I had put together some scratch tracks over loops of some of the vintage lounge jazz I'd been listening to, and we built our songs from those spontainiously in the studio. Also joing us at this first session were Bob Plotkin on violin, Steve "Java Jel" Gelsi on piano and Mandolin and Jeff Carter on guitar. We spent a weekend at Leopard and came away with a lot of great material. Some of the tracks were fully hashed out songs and others were instrumental pieces with vocals and other instruments to be added later. I did many of the overdub session at various locations with my mobile rig. In August we went back to Leopard Studio for more basic tracking and to date the project consists of over fifteen songs. Editing ond overdubs continue, and although we have no real deadlines I hope to have it finished before the spring of 2011. </div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-3661494836526547022009-06-28T11:11:00.000-07:002011-07-28T19:53:43.005-07:006.28.2009 CHRIS MAHONEY AT APPLEHEAD<div align="justify"><img align="left" height="261" src="http://www.kolmarshall.com/Chrisapplehead.jpg" width="326" />Guitarist Chris Mahoney recently contacted me to produce a song with him. He has been requisitioned to record an instrumental version of Led Zeppelin's "Misty Mountain Hop". Chris had heard the work I did at APPLEHEAD with DOLOR and we agreed that it was the best place for tracking basics for this project. We booked the time about 3 weeks in advance, and he lined up a drummer. A few days before the session his first pick drummer informed him that he had taken another gig, and wouldn't be able to make the session. Chris had also had another drummer in mind and so he contacted him, and the second pick guy was booked to do the session. On the day before the session the second guy bailed. I contacted drummer Larry Lubkert, whom I had worked with before, to see if he could make the session but he was already booked. Chris and I were both more than a little concerned that the session might not happen at all. I called around to other drummers I know but no one was available at such short notice. Finally, I broke down and called APPLEHEAD studio owner Michael Burnbaum to explain the situation.</div><div align="justify"><img align="left" height="245" src="http://www.kolmarshall.com/chrisjoshapplehead.jpg" width="322" />Michael saved the day in a big way. He contacted his friend, drummer Josh Eppert. Josh was the drummer with Coheed and Cambria for their first 3 albums, which were also recorded at APPLEHEAD. Josh was totally stoked to do the gig. Like many drummers he sites Led Zeppelin drummer John Bonham as a major influence, and it showed! Josh knew the song, knew the parts, and attacked the drum tracking session with passion and fury! We ran through the song three times all the way through, and then went back and tracked a few alternate fills in a couple of spots. After less than two hours of tracking we had slammin' drum tracks! We couldn't have asked for a more Bonham like performance. Josh played on the studio's vintage Slingerland kit, which had beat to death heads, but Josh made it sound amazing. Of course APPLEHEAD house engineer Chris Bittner also had a lot to do with the great drum sounds we got that day. We spent a good deal of time getting sounds (I'm a picky bastard) and we did a variety of microphone setups.</div><div align="justify"><img align="left" height="240" src="http://www.kolmarshall.com/joshapplehead.jpg" width="320" />In addition to all the "standard" close mic'ing we did a variety of room mics and an "alternate" vintage mic setup. The "standard" setup included a U47 FET in front of the kick, and my Electrovoice ND868 inside, summed through the EL8 Distressor, and a Shure SM57 on the snare top, AKG C414 on the snare bottom, also both summed to an EL8 Distressor. Sennheiser 421's on the two toms, Shure SM81 on the hat, and B&K's for the overheads. For room mics we used an Altec 639B "Birdcage" mic about 10 feet from the kit, and my Groovetube MD1 for a distant ambience mic in the hallway. The "alternate" vintage mic setup were my EV630 in the kick and EV644 on the snare, along with a vintage STC ribbon mic as a single center overhead. I also brought my infamous dictaphone mic for an overdriven "trash-kit" sound, which we overloaded through 2 channels for distortion. All the mics we pre-amped with the studio’s new vintage Neve console. With the remaing time we tracked some crunch guitar parts with some of the same mics we had used on drums. What a great session!</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-48437900873818786782008-12-06T11:11:00.000-08:002011-07-28T19:51:15.397-07:0012.06.2008 JAVA JEL AT MY HOME STUDIO<div align="justify">Java came up to my place for the weekend to track some overdubs. I had recently set up a somewhat impromptu studio in the guest bedroom at my house, and this was the first time I had a chance to use it. The room has an angled roof and nightmarish acoustics, which I had to tame with copious amounts of studio foam on the walls and ceiling. It seemed to work out well, and we got a lot accomplished. For vocal overdubs I used the Neumann TLM-103 through the Vintech 1272 preamp, compressed lightly with a DBX 160A. I also used the Neumann for acoustic guitar overdubs along with a Shure SM-81, also through the Vintech and DBX. I placed the Neumann near the bridge for a full-bodied sound and the Shure where the neck meets the body for a brighter sound, and Java's wonderful vintage Gibson acoustic guitar sounded great with these combined. We also did some electric guitar tracks, Java again playing my Telecaster through the Ampeg Gemini I, miked with the SM-81. Java also did some keyboard tracks, playing my newly acquired vintage Whirlitzer electric piano. Mid day Sunday our friend Bob Plotkin came by to add some violin tracks. We worked together on string arrangements for a couple of the songs, and Bob also did some improv stuff. His violin parts added a whole new dimension to several of the songs. I used the Neumann, Vintech and DBX on his violin as well. Bob was kind enough to snap some pictures of the session. After they left I spent Sunday evening doing some pre-mixing. Java hopes to have the project finished in January. Visit his site <a href="http://www.javajel.com/">www.javajel.com</a></div><div align="center"><img height="210" src="http://www.kolmarshall.com/javasings.jpg" width="150" /><img height="210" src="http://www.kolmarshall.com/javasmiles.jpg" width="294" /><img height="210" src="http://www.kolmarshall.com/javaplays.jpg" width="150" /><img height="210" src="http://www.kolmarshall.com/javakoltweaks.jpg" width="150" /></div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-70780536254468717362008-10-12T11:11:00.000-07:002011-07-28T19:37:55.629-07:0010.12.2008 JAVA JEL AT LEOPARD<div align="justify"><img align="left" height="218" src="http://www.kolmarshall.com/javaleopard.jpg" width="300" />My weekend tracking session with Java Jel at Leopard Studio went really well. Java and I are actually highschool buds. I recorded his first demo like 20 years ago. Java plays guitar and sings. His songs are catchy and kwerky and funky and fun. Java has had a long career of writing and performing and has recorded with several bands, one of which I got to record at a studio in Dobbs Ferry several years ago. I'm really excited about producing an album for him. Day one was certainly productive. In the first hour or so we recorded an eight song live acoustic demo. I used Leopard's Lawson L47 for vocals, though it did pick up pleanty of guitar as well. Pre-apmed and compressed with the Avalon. I suplimented the guitar "bleed" with a Shure SM7 on the guitar, which got a round tone and very little vocal bleed. The combination sounds great. I also had a stereo room mic pair of AKG C-414 set up and I tracked those as well for some natural room ambience.</div><div align="justify"><img align="left" height="209" src="http://www.kolmarshall.com/larryleopard.jpg" width="300" />At about noon drummer Larry Lubkurt arrived to meet Java for the first time. Larry played Leopard's house kit which I mic'd with a similar approach to how I'd previously recorded that same kit with the Anderson brothers. I used two Neumann TLM103's for overheads as before, as well as the Oktava 219 on snare, but in the kick I used an Electrovoice ND868. All four mics went through API 312 mic preamps, kick and snare were compressed with EL8 Distressors. I also used two AKG C-414's for stereo room mics placed in front of the glass. Room mics went through the Neve 1272's. I set Java up in the control room with the Lawson L-47 and my vintage 70's Fender Telecaster. The guitar amp was in the lounge, my 1963 Ampeg Gemini I, with the Shure SM7 off-axis at the grill. The tone I got on the guitar was wonderfully round but at the same time raw. For a couple of the songs I cranked the amp for more grit. </div><div align="justify"><img align="left" height="204" src="http://www.kolmarshall.com/javamikeh.jpg" width="300" />Java cut scratch vocals in the control room as he cut a rhythm electric guitar track. He taught Larry the songs along the way, and we did a couple of takes of each of 12 songs in about six hours. Shortly after Larry left bass player Mike Hamel of DOLOR arrived to cut bass tracks. He learned and recorded 11 of the 12 songs in just about 3 hours. Both Larry and Mike came up with great parts and the spontinaety of this production approach gives the recordings a realy great live feel. Both of them are great guys who I've worked with before, and they're outstanding and gifted players. They both hit it off well with Java and the groove really jelled (sorry, I couldn't resist). Now with a good basic rhythm section down I can work with Java on lead vocals and guitar and keyboard overdubs. We'll pick up on that in November.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-25314051379177258012008-08-04T11:11:00.000-07:002011-07-28T19:35:56.120-07:008.04.2008 ANDERSON MODERN MUSIC AT LEOPARD <br />
<img align="left" height="225" src="http://www.kolmarshall.com/leopardmics8.4.08.jpg" width="300" /><br />
<div align="justify">This session stands out as being the most relaxing and enjoyable session I have ever done. To be fair, the fact that I have known these guys since before we were ten years of age may have had something to do with it. What really made it special though was that this was a non-commercial venture, and we were all there by choice to enjoy (and record) some Free Jazz. </div><div align="justify"><br />
This is a genre that for many is an acquired taste, but as performed by this quartet I found it very tasty. Fred and Sean Anderson, identical twin brothers are the core of this group playing drums and woodwinds respectively. Fred played Leopard's house drum kit, a vintage be-bop style set, which I mic'd in a traditionally minimal fashion with two Neumann TLM-103's for overheads; one placed in front of the kit and facing down at the snare, the other placed above the floor tom, but equi-distant from the snare. I also placed an Oktava 219 condenser on the snare and I used my vintage AKG D12 in front of the kick. All the drum mics went through API 312 preamps. I compressed the kick and snare slightly with Empirical Labs Distressors.</div><div align="justify"><br />
Sean plays both alto and tenor sax, clarinet, flute and an assortment of exotic instruments. For his saxophones I brought out my Altec 639B "Birdcage" ribbon microphone, and for the clarinet I set up a Neumann KM-183. Trumpet player Lex Samu played in front of a Sennheiser MD421, and rounding out the bottom end was Chris Lough on upright and electric bass. I used a Shure SM7 microphone for both his upright bass and for the studio's Ampeg B-15 bass amp, and I also took a DI. The bass mic ran through Leopard's Avalon VT737.</div><div align="justify">Having had the previous weekend in the studio to set up and test mics, preamps and settings, I was ready for the group to pretty much just walk in and play. They seemed relatively unaware that a recording was even being made, with only Chris monitoring through headphones to better hear his acoustic bass. The vibe was very chill and the music was very intense! For more on this unique group visit http://www.myspace.com/andersonmodernmusic </div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-68489651625898676152007-10-13T11:11:00.000-07:002011-07-28T19:34:28.163-07:0010.13.2007 COLDSHOT DRUMS AT APPLEHEAD <br />
<div align="justify"><img align="left" height="267" src="http://www.kolmarshall.com/mike@applehead.jpg" width="200" />After a summer filled with more hiking than mic'ing, I'm back in the studio with COLDSHOT. Readers of this blog may recall the unfinished project we began in 2006 before the band relocated to the state of Florida. After some major personnel changes the band has emerged as a leaner and meaner 4-piece combo. Remaining from the old line-up are drummer Mike Lew and bass player Darren Barhydt, who journeyed back to New York last weekend to record drums for 10 songs. Many of these songs are new compositions and a couple of songs are re-worked versions of songs we recorded in ’06.<br />
As usual Chris Bittner of Applehead Recording Studio was instrumental in helping us get the drum sound that we went there to get. Unlike prior sessions I’ve brought to Applehead, we opted to use the API console preamps for the close drum microphones and the Neve inputs for the room mics. It was a good choice. The drum sound is fantastic. Lomo tube mics were used as overheads, Stereo pair of Geffels in the room plus my Groove Tubes MD-1 as a distant ambient mic. Up close I used my Electrovoice ND-868 inside the kick along with the studio’s U-47 FET outside. On the snare we started with a Beyer 201 on top and an AKG-414 on the bottom. I liked the sound of the 201 at first but I began to notice the snare would occasionally sound a bit “boxy” so we switched the top mic to a Shure SM57 which had that classic midrange signature and worked better in the mix. Sennheiser MD-421 on all the toms, an AKG C-451 on the hat, which was great but crapped out halfway through the session and had to be replaced with an Shure SM81. Also used an SM81 on the ride. Mike Lew was admittedly a bit nervous at the start of the session because our goal to track ten songs was a bit ambitious, and we took out time on day one getting the drum kit sounding it’s best and tweaking the microphones and headphone mix. Once we got started tracking though he found it easy to perform because his sound was great and as a result he really got comfortable and got into a groove. We tracked six songs on the first day and four more on day two. Mike’s takes were very solid and we only asked “The Man In The Hat” (Beat Detective) to fix a few minor things. By early in the evening Sunday we were done tracking. We listened down to everything once more to be sure there was nothing we had missed, and then as assistant engineer Jesse broke down the room mics Chris and I set up to get a good drum STEM mix for the overdubs to be tracked to. The tracks ran back through the API desk and I did some EQ and compression on the tracks and got a really nice mix without any digital processing or effects. We ran the mix through the API 2500 Stereo Buss Compressor, which I asked Chris to tweak, and it sounded awesome. Monday morning Mike and Darren were on their way back to Florida with their sessions on a DVD and a reference CD to help keep them awake.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-90803519922813318622007-03-23T11:11:00.000-07:002011-07-28T19:29:28.264-07:0003.23.2007 MADD DOG AT BSP LOUNGE IN KINGSTON<div align="justify"><a href="http://maddog.big1web.com/0000pg.asp/ID/4539/SID/307"><img align="left" border="0" height="207" src="http://www.kolmarshall.com/maddogrgb.jpg" width="200" /></a>Recorded MADD DOG performing live at BSP Lounge in Kingston NY at just after 10:00 PM. I had just returned to Stewart Airport at 8:15, after a short trip to visit my parents in Florida. Cheryl picked me up and we had a quick bite and then headed straight to Kingston on the thruway. She brought along my Mbox/iBook rig and pair of SM-81's, and a stand and her son Chris Chaos, who assisted me with set-up. We set up a standard X-Y with the Shure mics, about 18 feet from the stage of the small gallery-sized venue. The house sound guy, Kip, had an excellent mix in the room and the stereo pair sounded great, as I monitored through Sennheiser cans. Madd Dog rocked eight classic rock songs, but during the recording I had a DAE Error and the iBook lost communication with the Mbox resulting in me missing two songs. As we were by and large there to record, when they finished the set I informed the singer Jimi Bass of the problem. They did an encore of the two missed numbers. The following day at my home studio I ran the tracks through some mcdsp compression and EQ plug-ins and the Fairchild 660 and mastered discs for the band's review. I forgot to snap a shot, even though I had my camera with me, so I lifted the band's logo from their site. Click it, it's a link to the MADD DOG website.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-396837767245328432007-03-11T11:11:00.000-07:002011-07-28T19:27:54.596-07:0003.11.2007 GRAVITY KRUSH DRUMS & BASS AT LEOPARD<div style="text-align: justify;"> </div><div style="text-align: justify;"><img align="left" height="231" src="http://www.kolmarshall.com/pete@leopard.jpg" width="300" />GRAVITY KRUSH basic tracking at Leopard Studio went really well. We got drums and bass for seven songs during the weekend-long session. Drummer Pete Roan brought in his vintage Gretsch kit, it sounded great in the room. Pete played really solid to the click and recorded really well. On the kit I used a pair of Rode NKT Tube mics as overheads, preamped with API 312s, Sennheiser 421s through Neve 1272s on all three toms, in the kick drum an Electrovoice ND868 throught an API 312 and compressed with a Summit TLA50, Snare was a good ol' Shure SM57 through an API 312 and compressed with DBX 160A. On the high-hat I used a Shure SM81 through the Eureka with some compression and EQ. Also in the room for ambience was Jimmy's Lawson L47 patched through the Avalon VT737 channel. That mic got a great rooms sound, and indeed is great on just about anything. It was set to Cardiod pattern and placed in the room about eight feet back from the kit, and 3 feet from the floor.</div><div> </div><div style="text-align: justify;"><img align="right" height="200" src="http://www.kolmarshall.com/Joeyflash@leopard.jpg" width="142" />Midway through day 2 we were done with drums and we set up to record bass. Bassist Joey Flash played through the studio's bass amp the Ampeg B-15. I recoreded a DI and the Lawson L47 on two different tracks, the Lawson through the Avalon VT737 and the DI through API 312 with DBX160A compression. Joey spent the afternoon knockin' em out and by dinner time we were done. I spent the evening doing some editing, and mixing the drums down to a stereo mix for use in the overdub sessions to follow. We plan on beginning the guitar overdub sessions in a couple of weeks. We'll be doing the guitars at the band's rehearsal space on my mobile rig. Once the guitars are done the plan is to go back to Leopard for the vocal recording. </div><div style="text-align: justify;"> </div><div style="text-align: justify;"><br />
</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-75711431443730889102007-02-27T11:11:00.000-08:002011-07-28T19:25:29.534-07:0002.27.2007 DOLOR MIX AT APPLEHEAD<div class="separator" style="clear: both; text-align: justify;"><object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/V_ZhdsHzs-s/0.jpg"><param name="movie" value="http://www.youtube.com/v/V_ZhdsHzs-s&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><embed width="320" height="266" src="http://www.youtube.com/v/V_ZhdsHzs-s&fs=1&source=uds" type="application/x-shockwave-flash"></embed></object></div><div style="text-align: justify;">Went to APPLEHEAD with Dolor this weekend for the final mix. Engineer Chris Bittner was at the controls. We spent the first few hours putting together all the tracks from the various tracking sessions and getting them all routed to channels on the consoles. We used the API for the drums and the Neve Sidecar for the vocals. Guitars also went through the API and bass was routed through the Trident and summed there befor going to the API. We compressed the Bass sum with an EL8 Distressor, as well as the snare. We used various other compressors and processors and by lunch time the tracks were sounding great. Band Manager Phil Lorito dropped in for a listen and to give a "pep-talk". He stressed the importance of having the vocal out front. After a discussion with him I decided that we would make stems (Stereo Track Element Mixes) in addition the the Stereo Mixes, so that I would be able to "re-mix" the vocals to the music at any desired balance level. The session went really well. Chris did an outstanding job mixing six songs in two days. Here is a short film of Chris throwin' down the quick mix.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-82168309953824892932007-02-19T11:11:00.000-08:002011-07-28T19:21:14.465-07:0002.19.2007 MORE PINK PIGS HEAD AT LEOPARD<div align="justify"><img align="right" height="150" src="http://www.kolmarshall.com/leopardclean.jpg" width="200" />Two years ago I had the opportunity to spend a week at Leopard Studio while owner Jimmy Goodman was away (see: 02.24.2005 “Some Fun Of My Own” below). I used the time experimenting with vintage recording techniques and gear, and I recorded basic tracks for three psychedelic era songs. At the time I had hoped to return at some later date and finish the songs, but I never did. I had since decided that it would be better to apply some of the same techniques to something new. When Jimmy asked me to stay again this February I jumped on the chance. I brought over some of my favorite vintage stuff and set up for ten days of old school album tracking.</div><div align="justify"><br />
</div><div align="justify"><br />
<img align="left" height="150" src="http://www.kolmarshall.com/billvo.jpg" width="200" /><img align="left" height="150" src="http://www.kolmarshall.com/umourcompsm.jpg" width="200" />The first weekend my friends Loudmouth Bill and Mr. Kane joined me and we sketched out several songs, each based loosely around grooves and progressions copied from the album “More” by Pink Floyd. Bill, Kane and I each recorded some spoken word stuff. We used a Lawson L47 and the Avalon 737 Preamp with some compression. Mr. Kane also sang on a couple of the tracks. By the end of the weekend we had eight songs. </div><div align="justify">After they left I spent a couple of days adding guitar and bass tracks, using the sketches which had been done to a click as the foundation. I ran my Altec 639B Ribbon Mic through one of Jimmy’s vintage Neve 1272 preamps and used it in several placements on two vintage Ampeg guitar amps, a Gemini I and a GU-12. I played my ‘74 Fender Telecaster, and got some great tones. Bass amp also an Ampeg, the B15 mic’d with a Senmnheiser 421 through another Neve 1272, and of course a vintage bass, my ‘74 P-Bass.</div><div align="justify"><br />
</div><div align="justify">Later in the week drummer Larry Lubkurt came out and replaced all my bad drumming with excellent performances, which brought these recording to a whole other level. Larry is pro and vary talented. He came up with parts on the spot for eight songs he had never heard before, and it was awesome. I was glad I had taken the time to mic the drums in a more modern way than the crude 2-mic technique I had used on the covers recorded two years ago. I used my Electrovoice kick drum mic ND-868, and the Octava MK-219 on the snare, a pair of Rode NTK tubes for overheads, all using API 312 preamps. On the toms I used Sennheiser 421s through Neve 1272s all around. The Lawson L47 was still running through the Avalon so I used it for the room. The drums sounded amazing. </div><div align="justify">I spend the second weekend adding a few parts and mixing. Loudmouth Bill and Mr. Kane got to hear the final mixes the following week when I posted them on a hidden page on our website. The page is no longer hidden and here’s the link: <a href="http://umourphonium.blogspot.com/2010/01/more-pink-pigs-head.html">More Pink Pigs Head</a></div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-63716477224191885912007-02-07T11:11:00.000-08:002011-07-28T19:18:19.270-07:0002.07.2007 GRAVITY KRUSH PRE-PRODUCTION<div style="text-align: justify;"><img align="left" height="166" src="http://www.kolmarshall.com/gkpeteprepro.JPG" width="200" />This month I began pre-production with GRAVITY KRUSH. I first heard these guys at The Chance Theater in Poughkeepsie. They have a great power-pop sound with solid grooves and excellent vocal arrangements. I attended some rehearsals and helped them choose songs for the project and identify the tempos. Then, after making click tracks in ProTools, we tracked scratch guitar and bass tracks for the drummer Pete Roan to record to. I also recorded Pete, pictured here, playing along to the pre-production tracks. I left the band with a copy of the pre-production sessions to practice to. We’re planning on beginning to record in March. </div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-76624607418703145712007-01-21T11:11:00.000-08:002011-07-28T19:17:12.478-07:0001.21.2007 DOLOR AT LEOPARD STUDIO<div align="justify">Completed the vocal tracking with DOLOR in December and took time off for the holidays. Then this weekend we brought the project to Leopard Studio for some final editing and pre-mixing. At Leopard used the ProTools HD rig to assemble all the elements into one session. With all the pieces in place we did a rough mix that included some effects programming for the vocals and lead guitars. We have scheduled a date for the final mix, to be done at Applehead late in February.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-88877230226874513532006-11-12T11:11:00.000-08:002011-07-28T19:15:34.121-07:0011.12.2006 9-VOLT AMP POWERS 4X12 CAB!?!?!?<div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><img align="left" height="200" src="http://www.kolmarshall.com/deluxe&smokey.jpg" width="267" />Another productive Sunday afternoon recording with DOLOR at Tony's place, tracking vocals and solo guitar parts. Todd brought a Fender Deluxe Reverb amp to use on the solo for "American Life". We wanted a real southern blues sound for the solo. Todd played his modified Telecaster with no pedals and the amp turned up to 10, and the tone worked great in the track. I placed a Shure SM57 in front of the grill and my Altec 693 Ribbon behind the open-back cab; both pre-amp'd with the Vintech Dual 72. <a href="http://www.smokeyamps.com/"><img align="right" border="0" height="230" src="http://www.kolmarshall.com/smokeyamp.jpg" width="146" /></a>Todd’s solo work was awesome. Then, for the intro we tried the same sound but it wasn't quite distinctive enough on it's own, we wanted something more unique. Todd pulled out this little 9-volt powered "Smokey Amp", a practice-amp housed in a cigarette box. It's 2" speaker sounded pretty narley, but it also had a speaker output. I was amazed to find out that this thing could actually drive a 4x12 cab! A surprisingly loud 0.5-watt output actually sounded really good!!! I placed both the SM57 and the Altec Ribbon in front of Todd's 4x12 Sunn cab and we tweaked the levels from the two microphones to taste. A couple of takes through and a few more tweaks and we had what we were looking for. I was totally amazed by the Smokey Amp. Visit their website: <a href="http://www.smokeyamps.com/">www.smokeyamps.com</a>. After the guitar over-dubs were done we took a break to eat, then Mike Hamel arrived. We set up the AKG 414 and makeshift vocal booth and Mike did a very strong performance on the vocals for the same song, "American Life". That's three "in the can" and three to go.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-79173269181939728962006-11-05T11:11:00.000-08:002011-07-28T19:14:00.065-07:0011.05.2006 DOLOR VOCAL TRACKING<div style="text-align: justify;"><br />
</div><div style="text-align: justify;"></div><div style="text-align: justify;"><img align="right" height="200" src="http://www.kolmarshall.com/dolomikesings.jpg" width="267" />Sunday I brought my iBook / Mbox rig over to Tony's house to track vocals with <b>Mike Hamel</b> of <b>DOLOR</b>. I had recently gotten my iBook back from repair. As it turns out my computer's problems qualified it for Apple's "iBook Logic Board Repair Extension Program" and so Apple fixed it for free. It was nice not to have to lug a big CPU and monitors for a change. I did haul over a few Auralex acoustic panels to create a suitable vocal booth. Russ and I propped them up in a corner of the living room, which was already a nice soft acoustic space to work in. I set up the computer in the dining room again, along with my Presonus Eureka channel strip, which I used to pre-amp and compressed the signal from the AKG 414 Mike sang through. We all monitored through headphones. Mike belted out excellent takes of two songs, "Deadened" and "Live Or Die". Good work Mike! And kudos to <b>Chris Bittner</b> of <b>APPLEHEAD</b> for telling me about Apple's repair extention program!</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-53516851132826249292006-10-28T11:11:00.000-07:002011-07-28T19:10:57.941-07:0010.28.2006 CHAOS AT LEOPARD STUDIO<div align="justify"><img align="left" height="225" src="http://www.kolmarshall.com/chaosboys@leopard.jpg" width="320" />This weekend I recorded CHAOS at LEOPARD STUDIO in Stone Ridge NY. CHAOS recorded six original songs and one cover, tracking all the basic rhythm tracks, drums, bass, guitars and leads. This session was the bands second studio project with me. The last session was almost exactly one year ago, at The Barn in Cold Spring. That session at The Barn was basically a live recording. This time we did layered tracking; with Brittany recording all of her drum parts first while they rest of the band played scratch tracks direct through the board. Then we mic'd up each amp one at a time and over-dubbed all the bass and guitar parts. All the members of CHAOS were well rehearsed and did excellent work. As always it was a pleasure to be working at LEOPARD because the studio is well equipped, the vibe is really laid back and owner Jimmy Lonesome Goodman is always such a pleasant host.</div><div align="justify"><img align="right" height="200" src="http://www.kolmarshall.com/chaosbritt@leopard.jpg" width="267" />Jimmy spent Saturday morning helping me get the rather extensive drum mic-ing set up. We used two Sennheiser MD-421s in the two kick drums, and those ran through my new Vintech Dual 72 pre-amps and then were each compressed with DBX-160As. The snare drum was mic'd with an SM-57, which we tracked through Jimmy's Avalon 737 with compression and some EQ. We put SM-57s on all six of the toms, summing them through the Soundcraft mixing console and then routing them to a stereo track via an Avalon 747, also with some compression and EQ. On the high-hat I used an SM-81 through a channel of API 312, and I used a pair of Rode NTK Tube Condenser Mics through API 312s for the overheads. I also used Jimmy's U47 through an API 312 pre-amp for the room mic. For the boys tracking direct I set up my Line-6 POD and Jimmy's MXR Distortion Pedal for guitarists Chris and Joe, while Bassist Carl played direct through my Presonus Eureka.</div><div align="justify"><img align="left" height="200" src="http://www.kolmarshall.com/chaosamps@leopoard.jpg" width="270" />Having returned the Royer R-121 Ribbon back to Alto Music, I decided to try out one of my old Altec 639 "Birdcage" mics on the guitar cabs. To my delight the Altec sounded really good and I ended up using it for the bulk of the guitar sounds, blending it with an SM-57 and MD-421 in various amounts, mostly favoring the Altec and Sennheiser. I also used the Altec to mic up Jimmy's Ampeg B-15 bass amp, which we used not for bass but for clean guitar tracks, all of which we double-tracked. For Carl's Bass amp I used an Electrovoice ND-868 on the bottom cab, a Sennheiser MD-421 on the top, pre-amplified through the Vintech 72 and DBX-160As, and he also ran direct through the Avalon 737. I blended the mic combinations through aux channels in ProTools so each mic combo only used one track. Over all the session ran really well and we achieved all our objectives for the weekend. We plan to return to Leopard in a few weeks for another round of basic tracking.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-91250794326567266922006-10-22T11:11:00.000-07:002011-07-28T18:46:12.811-07:0010.22.2006 DOLOR GUITAR TRACKING DAY 2<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE7OHKF5fp3lDeFd4qWbl31zNNylnAAIrAkakFMgNYjmfmEQC8pkvq6Qopr_vkwd-Hd7MajMyqYCgEYiL_39SZN0HKDkX_Klbv_08HSIrBX9bk0CVr1r1auZnCpU3jiDKxDDr3ZPo6a0LZ/s1600/dolorduffygtr.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE7OHKF5fp3lDeFd4qWbl31zNNylnAAIrAkakFMgNYjmfmEQC8pkvq6Qopr_vkwd-Hd7MajMyqYCgEYiL_39SZN0HKDkX_Klbv_08HSIrBX9bk0CVr1r1auZnCpU3jiDKxDDr3ZPo6a0LZ/s200/dolorduffygtr.jpg" width="200" /></a></div><div align="justify">Sunday afternoon I was back at Tony's house to track guitars with <strong>DOLOR</strong> rhythm guitarist <strong>Mike Duffy</strong>. Because his amp head, a Peavey 5150, is notoriously noisy we borrowed a Mesa Boogie F-50 single 12 combo-amp from Alto. Patched through Mike's Mesa 4x12 cab it had that thick Mesa Boogie crunch tone which complimented Todd's more mid-range tone very nicely. The amp also provided excellent clean and slightly over-driven tones, variations of which we dialed in to taste for each of the songs. Mike Duffy's "crunch" parts were tracked first, which really filled out the over-all tone of the basic rhythm guitar parts. "Clean" parts were over-dubbed next. Mike played all his parts on his Paul Reed Smith guitar. </div><div align="justify"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbDZaeRd7qY7HSxm0dwdvJvZu2-LDTCBgfBui4BFm4NLkf9a6OyzPKP76PHIyoiF7ISjoTY962w1rE8uqpO1mGXe3DnrM1w0jR7tsfeqg77H-cxb5MmkKTzS1HK6-rh0iy2YejVUtPoD8/s1600/dolormesamics.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbDZaeRd7qY7HSxm0dwdvJvZu2-LDTCBgfBui4BFm4NLkf9a6OyzPKP76PHIyoiF7ISjoTY962w1rE8uqpO1mGXe3DnrM1w0jR7tsfeqg77H-cxb5MmkKTzS1HK6-rh0iy2YejVUtPoD8/s200/dolormesamics.jpg" width="200" /></a></div><div align="justify">My microphone set-up was the same as the previous guitar tracking session, with a Shure SM-57 and Sennheiser MD-421 through Vintech 1272s and that lovely Royer R121 through the Presonus Eureka. This time, however, we opted for the Sennheiser MD-421 and Royer R121 combination because the Sennheiser sounded much thicker than the Shure 57. My placement was different too, with the 421 placed off-axis and the Royer a few feet back from the cab. I stuck with this placement throughout the session. </div><div align="justify"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8lCPo0uX1FXC_zB5ahfPHbqoQ5SU98T5gzXT10yjkU3yPEpSrpZr8uyPAWijkA-AA1U-qEYVd21UZDVNUAbFOoDrt1pnlWV7UHP7fCi3yVov878-YpN1pdHifXmxzjvuVZ2YYKDHu9bjX/s1600/dolormike2gtrs.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8lCPo0uX1FXC_zB5ahfPHbqoQ5SU98T5gzXT10yjkU3yPEpSrpZr8uyPAWijkA-AA1U-qEYVd21UZDVNUAbFOoDrt1pnlWV7UHP7fCi3yVov878-YpN1pdHifXmxzjvuVZ2YYKDHu9bjX/s200/dolormike2gtrs.jpg" width="200" /></a></div><div align="justify">After <strong>Mike Duffy</strong> was done with his parts <strong>Mike Hamel</strong> stepped in to play all the guitar parts for the song "Live Or Die" which included an over-driven rhythm part, which we doubled, and acoustic guitar which we double-tracked with both 6-string and 12-string guitars. With all the instrumentation done we'll be on to Mike Hamel's vocal tracks next.</div><div align="justify"><br />
</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-92075934999880328392006-10-16T11:11:00.000-07:002011-07-28T18:41:28.045-07:0010.16.2006 DOLOR BASS TRACKING<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQSLp7QfUM0Col64L1uVvEqvV1iAzQZImeT2B4m5_Dqfu0lzkSMpkfQ07NZq_8TYrUHs7xQJz48AInlUtIyqb0m7zRHhtEcN4NMS4tFUzwBYyfKsOChYBi1bnQSiji6SuToMGxJnZ6S8S/s1600/dolormikecloset.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQSLp7QfUM0Col64L1uVvEqvV1iAzQZImeT2B4m5_Dqfu0lzkSMpkfQ07NZq_8TYrUHs7xQJz48AInlUtIyqb0m7zRHhtEcN4NMS4tFUzwBYyfKsOChYBi1bnQSiji6SuToMGxJnZ6S8S/s1600/dolormikecloset.jpg" /></a></div><div align="justify"> We actually had considered using the scratch tracks that lead vocalist and bass player <strong>Mike Hamel</strong> had laid down in pre-production because the takes were so solid. Mike had tracked direct through a Focusrite Twin Track, which sounded real good, but I wanted that tube amp sound. Instead of Re-amping we decided to re-cut the parts with both his amp and the Focusrite as DI. We lugged his amp upstairs and set it up in the jam room where we had recorded guitars. As soon as we plugged in his bass I knew there was a problem. Even at a lower volume the low frequencies from the cab caused a rattle throughout the room, mostly from the baseboard heating system. I placed an Electrovoice RE-20 right in front of the cab and hoped that the rattling wouldn't get picked up but it did. So into a closet full of cloths went the amp. We put a foam mattress liner in front of the bi-fold door, closed the door and fired it up. The rig sounded great in there. Mike played his Warwick bass through the amp and DI to separate tracks, and the blend sounded huge. He cut his tracks for all six songs in just a few hours. Next week we'll do another Guitar tracking day with guitarist <strong>Mike Duffy</strong>.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-43133000538391691292006-10-14T11:11:00.000-07:002011-07-28T18:47:15.101-07:0010.14.2006 DOLOR GUITAR TRACKING DAY 1<div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXXZqYQIggvqU2T-NVqHlP9B0lh_LxVaric6fCZZXqkRbLYSW7Vb7E3Y7zC8Tu-4qJxZ8wxpOtzSmX5MgwU5N9-R5XUP6aESRmFCVgVxav7wBZ2poE9OHUFifoQ3jvyrUJ6D4dhR6y3GPX/s1600/dolortodd%2540tonys.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXXZqYQIggvqU2T-NVqHlP9B0lh_LxVaric6fCZZXqkRbLYSW7Vb7E3Y7zC8Tu-4qJxZ8wxpOtzSmX5MgwU5N9-R5XUP6aESRmFCVgVxav7wBZ2poE9OHUFifoQ3jvyrUJ6D4dhR6y3GPX/s200/dolortodd%2540tonys.jpg" width="200" /></a></div><div style="text-align: justify;">On Saturday I went to where <b>DOLOR</b> rehearses, at their friend Tony's house, to do guitar-tracking overdubs with lead guitarist <b>Todd Mihan</b>. We set up our makeshift control room in the dining area downstairs and ran a snake upstairs to the "jam room". The ProTools rig is my old Mac G3 "blue & white" and Digidesign 001 interface. I brought 2 computer monitors so I could view mix and edit windows simultaneously. We monitored audio through headphones, and some M-Audio BX5s that Todd brought . For mic preamps Todd brought his Vintech Neve 1272 (I've got to get me one of these!) and I brought my Presonus Eureka, and Rolls RP-220 Tube Preamp. I also brought two DBX 160A compressors. Todd brought several guitars including his favorite, a modified Fender Telecaster, his Sunn guitar amp and a Line-6 POD. I had asked him to bring the POD because I wanted to use it's sound to blend with the sound from the amp.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGlpHlsX7gScBmvW0aI9IQ3yXXTlTFkKcaFqZaI_r0SHeAjjP2WAWbj6sM89J5d3a1ATgG96QxzjTUoFM2A91wZbyhIDGIstsoD4VZnpJfJCt5VW-kegipcGApgCTgXVojs447RsGfw78/s1600/dolormicsunn.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGlpHlsX7gScBmvW0aI9IQ3yXXTlTFkKcaFqZaI_r0SHeAjjP2WAWbj6sM89J5d3a1ATgG96QxzjTUoFM2A91wZbyhIDGIstsoD4VZnpJfJCt5VW-kegipcGApgCTgXVojs447RsGfw78/s1600/dolormicsunn.jpg" /></a></div><div style="text-align: justify;"> Upstairs in the jam room we positioned the Sunn amp and 4x12 cab in a corner of the room near the door, and as far from the drum kit as possible. We covered the drums with blankets to keep their sympathetic vibration to a minimum. In front of the cab I set up three microphones, a Sennheiser MD-421, a Shure SM-57 and the Royer R121 that I still have on loan from Alto Music. The two dynamic mics, 421 & 57, were positioned right on the grill and patched through the Vintech 1272 mic preamps and then compressed with the DBX 160As. The Royer was patched through the Presonus Eureka with some mild compression and no EQ. I tried several placements of the Royer ribbon mic before finally arriving at a close mic placement, which I had read about on the Royer Labs web site. This type of placement has been used by producer/engineer <b>Ross Hogarth</b> for heavy guitars, and uses the Royer for the "meat" of the sound and then blends the dynamic mics for variation "to taste". We ended up using very little of the Sennheiser, because Todd said he "wasn't feeling" that one. The Shure SM-57 was cranked for lead parts to give them a bit more bite and gain. I used Aux input channels in ProTools to sum the mic signals along with the signal from the Line-6 POD and this blend produced an aggressive and meaty crunch guitar sound.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaejFh_0uVRY5Q6ayxitd4E1wkKYOF6ssEk3DYcKikDrbc7nsStcUZz809xIS8dcdMoFFlOZJ31K1zwq_R-rQ7NcF_JbCMrGo1Mtq7FUAYIPw260v4rq11OmRXKjkr1b51u5BLvwrHXde/s1600/dolortoddgtrneck.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXaejFh_0uVRY5Q6ayxitd4E1wkKYOF6ssEk3DYcKikDrbc7nsStcUZz809xIS8dcdMoFFlOZJ31K1zwq_R-rQ7NcF_JbCMrGo1Mtq7FUAYIPw260v4rq11OmRXKjkr1b51u5BLvwrHXde/s1600/dolortoddgtrneck.jpg" /></a></div><div style="text-align: justify;"> Once we started tracking guitars we discovered a strange problem. Each time Todd did a stop/mute type part there was a strange ringing sound that lingered after the mute. At first I thought it was something vibrating sympathetically in the room, but after going up there to listen to the amp sound in the room we determined that it wasn't anything in the room, it was indeed coming from the guitar. We wondered if it could be caused by the mirrored pick-guard on Todd's Telecaster, but that wasn't the culprit either. Finally we figured out that the strings between the nut and the tuning pegs were causing the ringing. A paper towel stuffed under the strings on the headstock kept the ringing under control. Todd proceeded to knock out all his rhythm guitar crunch tracks and all of his leads, tracking both the Telecaster and Les Paul for rhythm parts and mostly playing the Les Paul for lead parts.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-12640544365959203332006-10-08T11:11:00.000-07:002011-07-28T18:47:44.772-07:0010.08.2006 DOLOR DRUM SESSION AT APPLEHEAD<div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx_1vHHIJhdKFcWNB-qD95OI0HjimZslHAoOXMJ_YWECZIWNLPXywlNHa61btx0VWCwgNOhBGmFRgcmMO2nLbaN6N6mbmceZAHdxh0wzeulm_K1nfrWSg4Sb0KyIDsOWVZSrgBzs9goNqS/s1600/kol.mike.russ.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx_1vHHIJhdKFcWNB-qD95OI0HjimZslHAoOXMJ_YWECZIWNLPXywlNHa61btx0VWCwgNOhBGmFRgcmMO2nLbaN6N6mbmceZAHdxh0wzeulm_K1nfrWSg4Sb0KyIDsOWVZSrgBzs9goNqS/s200/kol.mike.russ.jpg" width="200" /></a></div><div style="text-align: justify;">I began a recording project this weekend with a band called <b>DOLOR</b>. I've known these guys for a while now and we've been discussing doing a project together for almost a year. Our discussions began with the idea that I might mix down some songs they had already recorded at a small studio in Brooklyn. I listened to the tracks and agreed that they needed a proper mix. Unfortunately the raw tracks were not accessible due to some contractual agreements. After months of negotiations they finally received the masters, but by this time they had decided they would prefer to start fresh, since they had some new material and were not completely happy with the tracks they had done in Brooklyn. So we tossed around dates and locations for another few months before finally deciding to begin the project with a drum tracking session at <b>APPLEHEAD</b>. The weekend session there yielded fantastic results, and we tracked the drums for six songs.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0quHciLVCmxvRazIjaPL6ZhyVxN5XPoiKxFlu7rVdeuwUdT_IPCKM6wdmcNMM4XzRhS_Gxs32VMfTYxE1R9cMqlofeh7IYWBFaLkAUK1mopc0k-WtWY266OXulVAiREDh9_3LHu_k0sM/s1600/drummics%2540applehead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0quHciLVCmxvRazIjaPL6ZhyVxN5XPoiKxFlu7rVdeuwUdT_IPCKM6wdmcNMM4XzRhS_Gxs32VMfTYxE1R9cMqlofeh7IYWBFaLkAUK1mopc0k-WtWY266OXulVAiREDh9_3LHu_k0sM/s1600/drummics%2540applehead.jpg" /></a></div><div style="text-align: justify;"> We arrived at APPLEHEAD with some pre-production scratch and click tracks, which Mike Hamel, the lead vocalist and bass player, had pre-recorded at home. Drummer Russ Scavelli set up his drums in the main tracking room, which is a glorious acoustic space, and his kit sounded great in that room. Engineer Chris Bittner and I set up mics around the kit and room. As usual I focused first on getting a good room sound and after experimenting with some mic placements I decided to go with my standard "X-Y" in the center of the room. At Chris's recommendation we used 2 of the studio's Geffel UM70s, which I set to the cardioids pattern. I have found that this type of placement always gives me a really nice live stereo image of the recording space. We also placed a FET-47 in the hallway outside the main tracking room as an extra ambient mic and ran that through a Tube-Tech CL1A compressor. All these were pre-amped with the studio's API console.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8YrkcR_r0sPIvtw2OiPo_V5rC0FGPAvmJeCqlObrCWWCx1M-89-92iyM_mPBmR3ZTGjlttUAt3ACRRw0FAu9T33bBuoFY1IB0UNGpm0i5LBbQLs4cFDrzZOlfCPbinjEsrerSM2DFJJ8-/s1600/drummics%2540applehead2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8YrkcR_r0sPIvtw2OiPo_V5rC0FGPAvmJeCqlObrCWWCx1M-89-92iyM_mPBmR3ZTGjlttUAt3ACRRw0FAu9T33bBuoFY1IB0UNGpm0i5LBbQLs4cFDrzZOlfCPbinjEsrerSM2DFJJ8-/s1600/drummics%2540applehead2.jpg" /></a></div><div style="text-align: justify;"> Next we set up a Royer R121 Ribbon mic as a center overhead above the kit. I had borrowed it from ALTO MUSIC for evaluation and so far I am quite impressed with it's sound. The R121 has a very full sound without seeming muddy. Though somewhat dark as ribbon mics usually are it maintains an excellent clarity and even responce, and it has considerably more output gain than any ribbon I have ever worked with. The true test of this mic will be on guitar cabs, but that will come later. As a center overhead it worked great. For stereo overheads Chris sugjested these crazy looking russian tube microphones called "Lomo"s. These gave a great presence to the cymbals without sounding harsh in the high frequencies. They were very smooth and pleasent. The rest of the drums sounded great through them too. We used NEVE pre-amps for the LOMO overheads as well as all the rest of the close mics on the kit.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjt6EjWQg9x588uHTRiSCyy9CvobvV6Zfe0D7Jj1VE6m_rn8dgAztqGtYb8sruozYQofuIKVYQPVxBdTdf83UdxaPID7_RIE2v7XIQ9gyTsnAAOtXyIaIIr4NCA3bqtZ3pco4qbz58QFH/s1600/russ%2540applehead1sm.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjt6EjWQg9x588uHTRiSCyy9CvobvV6Zfe0D7Jj1VE6m_rn8dgAztqGtYb8sruozYQofuIKVYQPVxBdTdf83UdxaPID7_RIE2v7XIQ9gyTsnAAOtXyIaIIr4NCA3bqtZ3pco4qbz58QFH/s1600/russ%2540applehead1sm.jpg" /></a></div><div style="text-align: justify;">In the kick drum I placed my new Electrovoice ND-868, off-axis, just inside the front head. This gave me a punchy sound with plenty of attack. I had to aggressively EQ it on the NEVE to get the sound I wanted but that EQ section made it pretty easy to dial up the sound. For the snare we used the studio's Beyer Dynamic 201 on top and a B&K 4011 condenser underneath, EQ'd and summed at the NEVE. Both kick and snare went to disc compressed through EL8 Distressors. Hat and ride cymbals were both mic'd with Shure SM-81s but we didn't end up using the ride mic because Russ' ride cymbal was plenty loud enough through all the other mics. On all four toms we used Sennheiser MD-421s. For the additional "popcorn" snare a good old SM-57 was just the thing. Russ wore AKG headphones, which are open-back and let a lot of room sound in. He's a really hard-hitting drummer so he also wore earplugs underneath the headphones because it was so loud. </div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuqi4eU9I8-2oy5whI3iTlHmeML1KYU_LSQY-bjAbgwTHgmJbaG4WuGRGFB-Q9LZ9VyxjkPj9bbf9eQfc51zlKcWlmu8gxy_ISAg5ZvuLaiVxvVtC2UoQzxRLHLm59g9VTna6VdIj3nG8/s1600/todd%2540applehead.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpuqi4eU9I8-2oy5whI3iTlHmeML1KYU_LSQY-bjAbgwTHgmJbaG4WuGRGFB-Q9LZ9VyxjkPj9bbf9eQfc51zlKcWlmu8gxy_ISAg5ZvuLaiVxvVtC2UoQzxRLHLm59g9VTna6VdIj3nG8/s1600/todd%2540applehead.jpg" /></a></div><div style="text-align: justify;">Guitarist Todd Mihan played live scratch tracks through a Line6 pod, which we patched through APPLEHEAD's new (vintage) TRIDENT console. This helped give Russ a more "live feel" even though he was playing along to pre-recorded bass, vocal and click tracks. The sound of that TRIDENT is very aggressive. I'd live to track a punk band through it. On the first day of tracking Russ tracked four of the six songs we set out to do. On day two he finished out the set and by early afternoon Chris began to tackle the digital editing, using ProTools' Beat Detective to smooth out the few small tempo fluctuations that had slipped by us during tracking. Having Chris Bittner there to handle the lion’s share of engineering left me free to focus on parts, performance issues and shaping the sonic character of the recording. Beyond all the great gear he's my number one reason for bringing projects to APPLEHEAD.</div><div style="text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZAqa2L1gjv2ll8XoxOLAZ7KlrJ6_IRBASRi3lTinZPNuampvbiRECr2FBT_cGXb6yLT9VDJaD6cjOtynvalsbXdGI3oGD22cAv53KYUTwrVsOq_J0TChDswxEX-YBsjB4fpMaiUMGIsA/s1600/dolor%2540applehead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZAqa2L1gjv2ll8XoxOLAZ7KlrJ6_IRBASRi3lTinZPNuampvbiRECr2FBT_cGXb6yLT9VDJaD6cjOtynvalsbXdGI3oGD22cAv53KYUTwrVsOq_J0TChDswxEX-YBsjB4fpMaiUMGIsA/s1600/dolor%2540applehead.jpg" /></a></div><div style="text-align: justify;">To finish out our Sunday session I zeroed out all the monitor faders and did a fresh rough mix of the drums, which we bounced down to a stereo track for the purpose of using during our upcoming guitar, bass and vocal overdub sessions. I mixed the drums on the API console and compressed the 2-track mix with an API 2500 compressor. We listened back a low volume through Yamaha NS-10s and at high volume through the studio mains. Everyone seemed pleased. I was elated. I think this is one of the best drum tracking sessions I have ever done. From here the plan is to overdub using our personal rigs at the band's rehearsal spot. I have no reason to doubt that it will go well there too, despite the change in venue. I've got some great mics, Todd has a Vintech Neve 1272, mic pre-amp which I'm quite fond of for guitar, and I've still got that Royer R121 to play with. Besides, tone isn't in the gear; it's in the player! Thanks to all! More to come!</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-72202226074354989032006-06-24T11:11:00.000-07:002011-07-28T18:48:53.119-07:0006.24.2006 UMOUR AT THE BARN IN COLD SPRING<div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmqNdbr7XrtU1YHiz74ZdM6yEhraQvz1n7vEUnAcHxHSXJTNph1LVS0r-WX9EYq6mreGaO1LC5zvxqe0tSnKp6l4Q74mT-MYDeoxFjRuWQNVx2seIkAh1U8ZCDM5CXdLtansk0fxUylv7R/s1600/uba02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmqNdbr7XrtU1YHiz74ZdM6yEhraQvz1n7vEUnAcHxHSXJTNph1LVS0r-WX9EYq6mreGaO1LC5zvxqe0tSnKp6l4Q74mT-MYDeoxFjRuWQNVx2seIkAh1U8ZCDM5CXdLtansk0fxUylv7R/s320/uba02.jpg" width="320" /></a></div><div style="text-align: justify;">Another session in what has become a series of live recordings took place on this day at The Barn in Cold Spring. Billed as "An Afternoon Of Post-Apocalyptic Music And Art For A World Without Power" I gathered my growing collection of battery-operated toy "mini-organs" and practice amps, my "not so portable" Pro Tools rig and some microphones, and met friends at The Barn early in the afternoon. The idea was to have an "electronic music" jam without electricity.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">In attendance were some of the same people that were involved with the "Splurge 25th Anniversary" session; The Anderson Brothers Em, Fred and Sean, the Umour Ritual Specialists; Loudmouth Bill, Kane and myself, as well as some other friends; Joe Kelly (of Provan) Ron Labreche (of A Bitter Mahn) and Royce Stubbs (of Admit One).</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I set up the Pro Tools rig out of sight up in the "hay-loft" so as not to disturb the "Without Power" vibe. The only clue to it's presence were the three microphones I used. In the center of the room, over a large table where I had placed all the toys, was a single AKG C414. Also in place were two Shure SM81's, mounted as usual on the wall below the hay-loft. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The Andersons brought many fun instruments as well. Sean had his woodwinds, and Fred had a huge duffle-bag of drums and percussion instruments. Em brought some goofy electronic children's toys that spoke simple words and made some beeps and bleeps.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">We jammed all day and into the evening, finally giving way to hunger and the impending darkness. The result was 230 minutes of recorded material which has been aptly described as "fabulously bleak". Editing of this material will be a long term project.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0tag:blogger.com,1999:blog-6243496114155891920.post-34803923585874646462006-06-06T11:11:00.000-07:002011-07-28T18:49:31.230-07:0006.06.2006 PLANS CHANGE, STUFF HAPPENS<div style="text-align: justify;">Few things bother me more than projects that go unfinished. I understand that sometime things come up, plans change and stuff happens. So we adapt and work through the changes. My project with COLDSHOT has presented some of these types of challenges and I've really tried to roll with the punches. Hopefully, despite some major set-backs we'll still be able to complete the project at some point in the future even though the band has re-located to Florida. Until then all I can do is reflect on the hurtles we faced and how to avoid them in future projects. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">With the basic tracking done we set out to begin recording vocals at the bands rehearsal space in the basement below The Chance Theater in Poughkeepsie. As usual I brought my Mbox/iBook rig and a choice of mics. Someone brought coffee and doughnuts and I neglected to advise the band's two singers to avoid the milk. Once we got the gear set up I asked which song they wanted to start with.We began with the only song for which they had actually nailed down their final parts for. The opening lines of the song was a screaming part. Nailing the scream part proved next to impossible with the milk-coated throats. So we moved on to other parts of the song, but with voices already strained we were compromising every step of the way. Then by mid afternoon we began hearing noise from upstairs. As it turns out there was an all ages matinee of bands beginning at 4:00 upstairs at The Chance so we had to call it quits.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The following week my Apple iBook called it quits. </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The next vocal session we scheduled to have at one of the singers' home. Lacking the funds to purchase a new laptop I opted to bring my older Mac G3 "Blue & White" desktop computer to the session. A much slower machine than my iBook had been but certainly able to get the job of vocal overdubs done, although somewhat cumbersome to move. We avoided dairy products and got some good vocal takes that day from one of the band's singers. The new location seemed to be working out so we scheduled the next session to be held there as well. That following vocal session was attended by the entire band including both vocalists. The dynamic between these two very different style of singers is one of the qualities which makes COLDSHOT unique but that quality does come at a price it seemed, because there was considerable discussion and sometimes disagreement between them over each other's parts. Adding to that the presence of everyone else offering their opinion created a situation where there was a lot more talking than singing going on. Then when the girlfriend of the singer who's house we were in came home from work to find a house full of people the session was over.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">The next session at the singer's house went really well for the first half of the day and we got most of the first singers parts done. After waiting a couple of hours for the second singer to arrive we finally heard from him and he was still hours away so we called it a day.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Now all throughout this project we were working under the specter of the bands impending re-location to Florida. The move date was pushed back several times but finally they all moved down there with the project unfinished. The plan is for each of them to get settled in to their new lives in Florida, then pick up where we left off. This could mean air travel for me, or them, or sending DVD back-up files down for them to complete the project on their own or with someone else. In the meanwhile here are some tips to avoid some of these problems in the future:</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">1) No Dunkin Donuts light & sweet coffee before vocal sessions.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">2) Don't let the singer warm up with a scream.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">3) The Chance Theatre is a good place to see a band, not a good place for a vocal session.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">4) Technology is a tool which can never, never, never be trusted.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">5) It's always easier to record singers who's words have been written down and agreed upon in advance.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">6) A 1,400 mile long microphone cable is impractical.</div>Kol Marshallhttp://www.blogger.com/profile/07438991717817781383noreply@blogger.com0