Studio Necessities: Installment 01
Sunday, November 16, 2008
Me pudgy little fingers have been spending long hours lately maneuvering faders and knobs, compressors and EQs, delay lines and patch cables, microphones and instruments of all kinds—not to mention ledgers, tax forms, and business correspondence.
They haven't, therefore and rather obviously, been visiting this space to tap out the activities and pontifications of the Red Sun Soundroom crew in many a month.
(I always feel a little bit better beginning long-overdue posts with apologies and excuses. Just a smidge. Thanks for obliging.)
September gave us a spectacular Listening Salon, and the transcribed playlist—here come the promises!—will be posted here in the very near future.
There are several records that have been passing through the corridors of Red Sun that are in various stages of writing, production, or completion, including works by DeesKnees, Cavanaugh & Kavanaugh, Kelly Ballard, as well as the Red Sun Sample Series, and personal contributions by that Koniuto guy both to Negative Sound Institute and Intelligent Machinery.
I also travelled to Boston recently to discuss some possible film work.
In the meantime, i've been meaning to start this list since about 1993, back when i was working at White Crow Audio in Vermont and was introduced to two extraordinary individuals who would become mentors: Tom Walters (White Crow's head engineer), and David Torn (who was at White Crow composing/recording/mixing the record, Polytown with Mick Karn, Terry Bozzio, and Bruce Calder).
It may have even been TomWa's idea: compile a list of non-audio-related items that every good recording studio needs. Things that have no bearing whatsoever in the nuts-and-bolts of audio production (so, not good monitors, not microphone wind screens, not acoustic treatment materials—these items go without saying) that, through experience, we have found to be vital to doing good work in the recording environment.
So here's the first installment, because the list may go on and on, and i'm quite likely to keep forgetting that thing.
1. Paper tape
Every studio has their favorite brand and particular uses. I would be completely lost in my shop without 3M's Scotch brand 256 paper tape, 1-inch thickness.
3M Scotch paper tape - a Red Sun Soundroom favorite
Uses include, but not limited to: labeling console channels and mic inputs, securing mics in mic clips, labeling outboard gear assignments, attaching lyric sheets to music stands and/or musical instruments, crafting instant play toys for pets or lead singers.
2. Dishwasher
I can't think of a tool so critical to the well-being of all those involved in record-making. After a long day of takes, editing, punch-ins, signature DSP architecture, singing/playing/performing your heart out, deep listening, conflict resolution, and damn fine eating, who is ready at 2:00a to begin handwashing all those dishes? The coffee mugs alone have become a mountain.
In my experience, give yourself the requisite 45 minutes to find all the dishes. (Hint: if the client has recently signed a record deal with a label of any size whatsoever and, hence, "made it", look in the trash. What is disposable to a new rising star does not equal what is disposable to a bona fide business who happens to work with such clientele.) You will need that 45 minutes more often than you know. Use the next five minutes to load the machine and then get some sleep.
3. Dry Erase Technology
You need white boards and markers and if you don't have them now you have no idea how badly you need them.
This keeps everyone on the same page. What is needed next on such-and-such song? How do you envision the flow of your album? If you want to lay down lead [whatever] next, in response to the lead vocal, we need first to comp the 6 fragmented takes into a strong lead vocal so the soloing instrument can respond to it.
The recording studio is not a democracy. Some will argue that point with me, and that's fine. But it isn't. Most creative environments are not. Freedom of speech and opinion, however, must exist in this environment. Scribbling out your hopes and dreams and fears in an eraseable but visible format is key to this process: this is note-taking for the village. And it takes a village to birth and raise whatever happens in a recording studio. Talk about it, and document it. You have no idea when that bad idea, scratched down in purple, will turn into the solution everyone is looking for three weeks from now.
Pop back in soon for the next installment. In the meantime, keep the groove, and...
...let us know you're listening.
Listening Salons 006 and 007
Sunday, May 04, 2008
I'll admit it, i'm not much of a secretary. We at the Red Sun Soundroom host what have turned out to be very engaging social events called Listening Salons—gatherings of people ready to share recordings of music and other sounds with their fellow Salon-ers for a true deep listening experience, followed by lively conversation and an overall celebration of the joy of listening.
It's my job and privilege to post what has been shared at these events right here on this website, both for the Listening Salon attendees and the curious general public. I'm just not very good at getting it all down in writing, checking my spelling and the correct names for things, and offering it up to all you readers in a timely fashion. Better tardy than never, so this post includes not only the recent Listening Salon 007 which took place a few weeks ago, but also Listening Salon 006—from last November!
Listening Salon 006
New attendees included multi-instrumentalist, songwriter, and power-house drummer Derek Dobson, whose band Cooper Union is about to release their debut record in the coming months. Also new to the mix was the ever-charming Allissa B., who is not only a budding actress and voice-over talent, but a walking encyclopedia of the entertainment industry. Both made such wonderful contributions to their first Listening Salon, we hope they keep coming.
The feast included gourmet pizzas, mostly topped with black olive pesto, several made by Ms M., and several made by Chef Dave Collins. Astonishingly, there were no leftovers. M.B. made a lovely salad and pleased all with her exquisite taste in wines. Allissa B., much to everyone's delight, served up homemade cupcakes leaving our taste buds all contented with such delectable sweetness.
M.B. started us off with some of her favorite high-spirited rock'n'roll, mostly from the 1980s.
The Clash — "Pressure Drop"
Ted Hawkins — "Bad Dog"
Nick Lowe — "So It Goes"
The Pogues — "Bottle Of Smoke"
The Pogues — "Fairytale Of New York"
The lights were dimmed for Derek's set, the three selections of which were offered, respectively, as premiere examples of musical dissonance, harmony, and the co-existence of the two.
King Crimson — "Talking Drum"
Brian Wilson — "Surf's Up"
The Flaming Lips — "The Gash"
I then played a few pieces of music that featured drums and other percussion in what i feel are ground-breaking ways.
Bill Bruford — "The Drum Also Waltzes" (M. Roach)
Doudou N'Diaye Rose — "Cheikh Anta Diop"
Peter Gabriel — "Come Talk To Me" (feat. Doudou N'Diaye Rose)
Ms M., as always, wowed the room with her selections—this time, an entire set of performances by Ramblin' Jack Elliott from throughout his long career.
Ramblin' Jack Elliott — "Cuckoo"
Johnny Cash — "Introduction" (spoken)
Ramblin' Jack Elliott — "Muleskinner Blues"
Ramblin' Jack Elliott — "Buskin'" (spoken)
Ramblin' Jack Elliott — "Pastures Of Plenty"
Ramblin' Jack Elliott — "Old Blue"
Ramblin' Jack Elliott — "Call Me A Dog"
Ramblin' Jack Elliott — "Woody's Last Ride" (spoken)
Ramblin' Jack Elliott — "Don't Think Twice" (B. Dylan)
Allissa B. followed that up with a set of old gems that had fellow Salon-ers literally asking for more.
Talking Heads — "Psycho Killer"
Sugar Cubes — "Birthday"
Simon & Garfunkel — "A Most Peculiar Man"
Simon & Garfunkel — "April Come She Will"
We were in the wee hours of the morning before Dave Collins introduced us to four cuts, all from one record called, All For The Peace Bullet by, as Dave put it, "a local band", Kotik Trance. He later admitted that Kotik Trance is Dave's own studio project wherein he plays all the instruments and does all the singing, leaving us still with the mystery of how he got that banjo sound. "Local band" notwithstanding, some of these songs were recorded in Boston, others in Myrtle Beach, South Carolina.
Kotik Trance — "Sint Simple Delight"
Kotik Trance — "No B Until Diminished"
Kotik Trance — "Switchblade"
Kotik Trance — "Squid"
Listening Salon 007
'Twas the ides of March when we gathered for Listening Salon again, this time with two new Salon-ers. Joining in the fun was novelist and Red Sun Soundroom client Tom Schreck, whose second book in the Duffy Dumbrowski mystery series entitled TKO: Round Two was just released.
Also making an appearance with the wind ever at her back was the enigmatic Gail West—mathmetician, socialite, educator, stunt aviation enthusiast, long-distance runner, audiobook executive producer, philanthropist, fashion trend-setter, animal rights theoretician, literary promoter, avant-garde pet trainer, and procurer of the world's greatest collection of antique thimbles (rumor has it the British Royal Family have her on speed dial). Humility always her first trait, in response to observations she may have over the years shared personal relationships with various veterans of the rock'n'roll pantheon she merely stated, "I've been to a few shows."
We dined on a choice of pasta dishes—pesto, or a primavera with asparagus tips—Mexican lasagna, cayenne roasted almonds, salads, a variety of olives, and homemade chocolate brownies.
Overall this Listening Salon took an interesting turn with attention generally paid more to content than to aesthetics. Dave Collins began with a full and well researched set of controversial tracks surrounding the themes of political satire and abrasive lyrics. Much interesting conversation followed, as i believe the other Salon-ers present were not aware this material existed. Awareness of what others in the world are hearing is not at all inconsistent with what Listening Salons are all about, and for this education i am always thankful. The names of the artists and some of the song titles will be offensive to many readers, as they were to some Salon-ers in the room, as well as to Dave himself, who brought them in the first place. Those with asterisks next to them are graphic enough in nature to warrant abbreviation on this website, but i invite you to research the full names on your own.
A.C.* — "Hitler Was A Sensitive Man"
A.C.* — "I Snuck [...] Into A Sperm Bank" *
A.C.* — "You Play On A Softball Team"
The Call — "The Walls Came Down"
King Diamond — "Detachable Penis"
Anti-Flag — "Gonna Die For Your Government"
Lazyboy — "Underwear Goes Inside The Pants"
Tom Schreck took on a professorial role in his Listening Salon debut appearance, playing three separate interpretations of what are essentially the same two songs. Building on the research of Ugandan scholar Dr Peter Nazareth, professor of literature at the University of Iowa, Tom laid out the theory of "Elvis as trickster": the icon-to-be taking songs from the American musical mainstream down the dangerous path back to their original and perhaps more risqué roots in the African-American tradition, both lyrically and in feel.
Big Joe Turner — "Shake, Rattle And Roll"
Bill Haley And His Comets — "Shake, Rattle And Roll"
Elvis Presley — "Shake, Rattle And Roll"
Big Joe & The Dynaflows — "One Night Of Sin"
Elvis Presley — "One Night Of Sin" (released posthumously)
Elvis Presley — "One Night"
Ms M. played for us a trademark nonstop set of pieces she feels exemplify the blending of cultural traditions to make new musical styles or forms of musical expression.
Zap Mama — "Brrrlak!"
Paul Simon & Ladysmith Black Mambazo — "Diamonds On The Soles Of Her Shoes"
Nusrat Fateh Ali Khan & Michael Brook — "Crest"
Kishore Kumar & Manna Dey — "Yeh Dosti Hum Nahin"
Nouvelle Vague — "Heart Of Glass" (orig. Blondie)
Hoby Ebert went with a birthday theme, 15 March being the birthday of both Sly Stone and The Grateful Dead's Phil Lesh.
Sly & The Family Stone — "Thank You (Falettinme Be Mice Elf Agin)"
The Grateful Dead — "Box Of Rain"
The Grateful Dead — "Unbroken Chain"
The Grateful Dead — "King Solomon's Marbles (Stronger Than Dirt / Milkin' The Turkey)"
Derek Dobson played one track on behalf of Allissa B., who last minute could not attend.
Jack Drag — "Sinner's Delight"
Derek went on to share a handful of personal favorites, at least a couple of which he noted come from nearly perfect albums—that is, albums where every song is great and, in Dee's words, there is "absolutely no filler".
Chuck Prophet — "You Did (Bomp Shooby Dooby Bomp)"
Cake — "Long Line Of Cars"
Dire Straits — "Iron Hand"
Aimee Mann — "Deathly"
I closed out Listening Salon 007 with three recordings in which i felt the composers used very simple colors on the pallet to create exquisite and rather sophisticated listening experiences.
Daniel Lanois — "Luna Samba"
Katie Down — "Stations" (from the dance work, Innocents)
Tom Waits — "What's He Building In There"
I think 30 selections is probably a record for Listening Salons we've hosted so far, and every moment was worth it. Thanks to all who participated, shared their ideas and their laughter and their fine cuisine, and helped to make these the very special evenings they've become. Cheers to the ears.
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The Magic of the Playback
Sunday, March 30, 2008
Exciting times: Ms M. right away brought the following New York Times article to my attention. Soon after, i found the acoustic ecology community is all abuzz about it:
Researchers Play Tune Recorded Before EdisonI've often celebrated the achievement of Edison and Redpath in bringing sound recording into this world. To learn that Édouard-Léon Scott de Martinville successfully recorded sound nearly two decades before Edison and Redpath is astonishing indeed.
However, what is even more astonishing is that Scott had the brilliance to accomplish such a feat but never the forethought of recording sound for sound reproduction. He has said so in his own self-published writings when reminding us of the true, literal meaning of the word phonograph: a visual representation of sound.
Impressive as the news of his invention is, i am reminded of the many music-makers and sound artists of today who attempt to conquer many if not most of the critical decisions in their work while looking at squiggly lines on a computer screen instead of closing their eyes and listening.
We do things a little more old school in the Red Sun Soundroom. We've got access to the visuals of the digital editing workstation interface, sure—and do use this tool from time to time. But you'll find we make our decisions far more often with our eyes closed and our ears peeled. It's like tasting a dish being cooked up in the kitchen to decide it needs more cumin, and not relying solely on what's written in the recipe from a magazine. Physical response is a key component of how we operate.
That said, listening to those few seconds of "Au Clair de la Lune" sung by an unknown voice in 1860 and recorded by Monsieur Scott gives me goosebumps.
The excitement for me, though, is in the playback, in listening to those few seconds.
That's where the magic lives.
Send us your thoughts.
Unbedingt "downloaden"!!!
Thursday, March 27, 2008
We had a delightful Listening Salon just recently here at Red Sun Soundroom headquarters. Check back in a few days for the full playlist (as well as the playlist for November's Listening Salon we never quite got around to posting—the crazy buzz, excitement, and your pleas to release it notwithstanding). You won't want to miss it.
But first:
As long as they keep coming, we'll keep serving them up for you to enjoy.
Here's yet another review of Pseudophone's Reach that hit the interweb zone a few months ago, this one in the Teutonic territories. I'd have posted this earlier, but our scholars needed time to fine-tune the proper tone of the English translation. The original review in German is here, and reads:
"Ich tue mich immer sehr schwer, elektronische Musik in ein Schublade zu tun. Sei es, weil die Schubladen eine kurzfristige Mode ausdrücken, oder sei es, weil die Übergänge fließend sind.
Also versuche ich gar nicht erst zu ergründen, ob Pseudophone's Reach Ambient, Illbient, New Age oder einfach nur Electronica ist. Die Musik ist durch lange flächige Sounds geprägt, die sich klangmalerisch langsam weiterentwickeln. Dazu ab und zu Percussions, verhallte Samples oder Field Recordings. Die Musik lädt dazu ein, die Tür hinter sich zu schließen, sich zu entspannen und den Rest der Welt das machen zu lassen, was er so will.
Daher mein Tipp: Unbedingt 'downloaden'!!!"
Well that's just fine, isn't it? I put my best team on it to give us the clearest English translation, valuing truth over misappropriated applause, of course. This is what they came up with:
"It is always very difficult for me to categorize electronic music. I don't know if it is because the categories express a short-term trend or whether the distinctions between the categories are fluid.
I don't try to figure out whether Pseudophone's Reach is 'ambient', 'illbient', 'new age' or just plain 'electronica'. The music is characterized by deep drones, which through time-stretching slowly evolve. Interspersed among the sounds are percussion, samples, and field recordings. The music invites the visitor to close the door, relax, and let the rest of the world go.
My tip: a must download!!!"
Translation by Robert Nunnally and Tony Thornton
And i can happily report that listeners all over the globe have been letting "the rest of the world go" by the thousands. As of this posting, we're showing that Reach has seen a upwards around 8,000 song downloads since its release last July.
Danke schön!
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Found In Translation
Thursday, November 01, 2007
"Un buon lavoro questo Reach di Pseudophone, godibile, ricco di atmosfere fatte di flussi sonori ciclici che lentamente si sovrappongono e si inseguono."Many thanks to Mauro Graziani, Italian musican and writer who had such kind words to say about Pseudophone's Reach, the free EP we put out on Negative Sound Institute midsummer. Reviews like these have business picking up: the label is reporting tremendous increased interest in Reach, and the number of music fans downloading the full record or individual tracks keeps growing every day. Mille grazie, indeed!
For those folks who, like me, have little Italian, perhaps you'll take pleasure in what the linguistic algorithms of web translators offer as the English equivalent of Mr Graziani's observations:
"A good job this Reach of Pseudophone, enjoyable, rich atmospheres made of sound cyclical flows slowly that overlap and chase."Yep, that about nails it.
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A Quiet Droneful Dream Of Sound
Tuesday, October 23, 2007
"Music that is calming, other worldly and with a generous dose of mystery."
So says a nice little review of Pseudophone's Reach that recently appeared on Free Albums Galore. This team provides the excellent curatorial role of identifying quality music on the web. Click here for the full review, and thanks for listening.
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White Raven
Thursday, October 18, 2007
A flute arrived in the mail yesterday. It's handmade of black walnut. I couldn't keep my fingers and lips away from it all night. It's called a "courtship flute", afer all.
Master woodworker Kai Mayberger made it especially for me. I purchased a djembe from Kai in August while visiting his shop, White Raven Drumworks, in Bridgewater, Vermont. I spent a lot of time in his shop over two days: playing the djembes, ashikos, didjeridoos, flutes, frame drums, and talking with the man whose master hand crafts all these instruments each to realize a personality of its own.
Kai knows that a musician's relationship to an instrument is what makes interesting music possible. With his chisels and saws and knives and so many tools i cannot name Kai brings these instruments into the world, each full of unique personality, each with a tone and feel that makes its character one of a kind.
These instruments demand of the musician a commitment of full breath and an honest touch, without which they will sound pretty, yes, but with such commitment there comes a promise of vitality and profound depth in their sound.
These instruments are of the highest quality in that they come to life when the musician reaches out to them with passion and sincerity of the heart.
I encourage anyone visiting the northeastern U.S. to make the trip to Bridgewater, Vermont—speak at length with Kai at White Raven Drumworks, play his instruments, and let your imagination fly in their midst.
Believe me, it's worth the trip.
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