This week was a “break” week with no classes or pracs. While I was able to have one or two days to myself, it was still quite a busy week with due dates for both the previous projects (Post Production & Studio Production) in the middle of the week. My group for the Aussie/NZ Reinterpretation assignment (The Clean – Anything Can Happen), has met once already this week to practice and intends to meet again in the next few days. Right now we are just hashing out the song and trying to add some different direction to it in terms of arrangement and melody.
I have been doing some research and experimentation on how to achieve vocals similar to our reference tracks in the presentation
which have also offered a little bit of insight on how to change the track stylistically.
Most offer similar effects chain combinations such as distortion, delay, reverb, with extra mentions of slapback delay, boosting before any kind of distortion, and use of guitar pedals over digital processing.
I have however, been able to obtain a similar tone/effect using protools stock plugins – to be used as a backup.
I have also been doing some research on live recordings for the Shit Narnia EP
Good advice on isolation and spill however the article is more tailored to a DIY recording environment.
There wasn’t much advice in here that I havn’t already read, although it mentioned that while recording guitar amps in iso is often the way to go, killing the guitarists control over feedback can kill the performance. It also so alludes to the more obvious pitfall that if something turns out wrong in our takes, we haven’t lost one part that we can overdub – we’ve probably lost the whole recording.
I really don’t like using gates on bleed for anything that has important dynamic, and so after reading the bleed section of this article I’ve booked 4 hours before the band members arrive to spend setting up.
This article stressed the negative aspects of using a large cab such as a 4×12 for studio recording. The guitarists amp has 1 speaker cone so this won’t be a problem, however the bassists cab is a 4×12 so the bass will be D.I.’d and re-amped to avoid any bass problems.
Another solution this article had to problems associated with bass amps in a live recording setting e.g. drum rattle, was to D.I the bass at the same time while rolling off the low end of the amps output. This gives you record low end that you can add back to the bass later on in the mixing stage.
I can’t really release information on this yet, however we have watched it multiple times now and have taken extensive notes with timestamps. I have also managed to get the person running the project interested in a band I am recording soon, so hopefully that all goes well.
At this stage we wont have access to studios over our trimester break like we usually do, due to SAE moving campus. We are still in early talks but rather than using a rehearsal studio we may decide to wait until we can use the new live room.. or both..