OP
So, this song has really been through quite a complex and arduous process of late. Written on August 4, 2017, recorded as a demo on November 9, 2020, then recorded as a full studio version at Rat's Nest Studio's Los Angeles on November 14, 2020. To be totally honest, I was not happy with how the studio version sounded. Despite being recorded on equipment like Steinberg Cubase Pro, Blue Custom Shop Cranberries and Neumann M-149 microphones, in a modern, state-of-the-art studio, I didn't feel like the recording really captured what I was wanting to get across.
My goal was to create a very 'real' recording as opposed to a very over-the-top 'L.A. Style' effort. To achieve that, I doubled the rhythm and lead guitars in real time, meaning every guitar part is played twice, back-to-back, to get a doubling effect. Two separate guitars and EQ's settings were used, giving the guitars separate voices. The bass tracks were also doubled in real time.
My vocal tracks were also doubled. This gives a natural consonance/dissonance effect to the vocals. One track is recorded totally dry and the other vocal track has a slight reverb effect added. One phrase in the song - where the vocals stop abruptly - has delay added.
Slight errors in the tracks were intentionally left in place to give the recording a more 'genuine' effect.
Drums were the next issue that needed to be addressed.
One of my close friends, colleagues and drummers, declined to play on the song because he disagrees with the song's theme. His political views are extremely far-left and he did not want to be a part of the creative process based upon those differences. I, of course, respected this decision and our working relationship has not been affected.
I work with a drummer of a local Christian rock band and he was excited to play on the recording, so he was brought in for the task at hand. Although I really like the guy and his work (and he is awesome to work with) I didn't feel like his drumming was getting the 'urgency' across that I was looking for. I had a definite idea of the type of drum cadence that I was looking for, despite being able to only play some very rudimentary drum passages myself.
I reached out to musical friend and Nashville session drummer Chris Brush at PlethoraTone Studios for this task. Chris has appeared on several of my music projects and he most recently handled the drums on my cover of "All Along The Watchtower."
Chris finished the drums yesterday and I am currently mixing/mastering the tracks.
Will post a link soon...
My goal was to create a very 'real' recording as opposed to a very over-the-top 'L.A. Style' effort. To achieve that, I doubled the rhythm and lead guitars in real time, meaning every guitar part is played twice, back-to-back, to get a doubling effect. Two separate guitars and EQ's settings were used, giving the guitars separate voices. The bass tracks were also doubled in real time.
My vocal tracks were also doubled. This gives a natural consonance/dissonance effect to the vocals. One track is recorded totally dry and the other vocal track has a slight reverb effect added. One phrase in the song - where the vocals stop abruptly - has delay added.
Slight errors in the tracks were intentionally left in place to give the recording a more 'genuine' effect.
Drums were the next issue that needed to be addressed.
One of my close friends, colleagues and drummers, declined to play on the song because he disagrees with the song's theme. His political views are extremely far-left and he did not want to be a part of the creative process based upon those differences. I, of course, respected this decision and our working relationship has not been affected.
I work with a drummer of a local Christian rock band and he was excited to play on the recording, so he was brought in for the task at hand. Although I really like the guy and his work (and he is awesome to work with) I didn't feel like his drumming was getting the 'urgency' across that I was looking for. I had a definite idea of the type of drum cadence that I was looking for, despite being able to only play some very rudimentary drum passages myself.
I reached out to musical friend and Nashville session drummer Chris Brush at PlethoraTone Studios for this task. Chris has appeared on several of my music projects and he most recently handled the drums on my cover of "All Along The Watchtower."
Chris finished the drums yesterday and I am currently mixing/mastering the tracks.
Will post a link soon...
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