After we successfully recorded the electric piano, organ and Moog parts of “Unique” with the German jazz pianist Andreas Theobald, we let rest the production for a few weeks. Playing it back after the break that was used to concentrate on other tasks related to the producer concept EP, we had the feeling that a particular element was missing to complete the song as we envisioned it originally. After a moment’s consideration, we decided that the song needs a real horn section to take the song to the next level and to finalise it. We are more than happy to tell you that we were able to work with a professional horn section called Triple H Horns from the United Kingdom that did a stunning job! In the following, learn more about the guys behind Triple H Horns and how we recorded saxophone, trumpet and trombone for “Unique”.Continue reading →
One week ago, we talked about the guitar recording for the “Unique” song that is planned to be the second track of the EP project. The keys have a central role within the song’s arrangement because they are used to broaden the stereo width and to act as a tapestry of sound. By accident, we got German jazz pianist Andreas Theobald (Jugendjazzorchester NRW besides other band projects) involved in the project who then arranged a few layers of different key instruments and sounds to take the project to the next level. Find out how we recorded the different key instruments for “Unique” in the following paragraphs.Continue reading →
After we already had the drums and bass recorded on tape, we worked on the guitar parts for the new “Unique” song that is produced in the context of our current EP project. We ended up recording single notes for the verses along with rhythm tracks for the rest of the arrangement that give the song a decent funky “flavour”. For some of our followers, the recorded guitar material will be a nostalgic flashback to the late 70s/early 80s. As known for our production documentaries, we will briefly go through the signal flow and used equipment to achieve the sound you will finally hear on the record.Continue reading →
When we finished the songwriting for the first song “Come Back” of our EP project, it was time to think about the next track, its genre and all other production- and songwriting-related topics. We decided to work on a soul/R&B song that should be performed with real instruments and stand out because of its “organic”, vibrant arrangement in contrast to the current, contemporary R&B music on the radio that features virtual instruments and is quite Autotune-heavy. We started tracking the drums, as we did for the rock track “Come Back” after I drafted a rhythm concept beforehand out of nowhere. Having a solid drum track as the basis for the songwriting, I was now searching for the best-fitting bass player to write a funky bass line on it collaboratively.Continue reading →
The editing of the shouter vocals was done, and we already proceeded with the mixdown of the entire song. But the missing piece of the puzzle was the clean vocalist that sings the melodic, pop-ish chorus and a few other parts together with the shouter. When you missed the previous article that describes our shouter vocal recording with Kim Rese, feel free to check this out here before continue reading this article.
A long time passed until we could find a suitable collaborator that met our expectations sound- and skill-wise. We finally got a great singer/songwriter with a long-lasting recording and touring career involved in the modern rock project. Let me tell you more about who our collaborator is and how we recorded his clean vocals for “Come Back”.
Almost three months ago, we reported about the bass recording for the modern rock track called “Come Back”. During that period, we wrote the song’s lyrics and finally could start tracking the vocals for the production, starting with the vocal shouts. The song consists of two vocalists, one shouter and one clean, melodic vocalist. Combining those two different styles and voices allows us to target a broader audience and achieve a more pop-ish result. Thus, people that usually do not listen to rock music that includes shouts may connect easier with the song. Let me tell you briefly how we recorded the shouts for “Come Back”.Continue reading →
In the near past, I started documenting the progress of AP’s new modern rock project “Come Back” began with explaining how the idea for the song arose and how we started the songwriting and recording process by tracking the drums, guitars and keys. After the editing of the guitar recording was done, a demo mix was sent to Torsten Kolb, who I got to know as the bassist of the alternative rock band Blizzard back in 2014/2015. It only took a couple of days after I received a bass concept for the song that just needed a few small adjustments later during the final recording in late January to be exactly what I was initially looking for.Continue reading →
Two weeks ago, I published the first production documentation article after almost a year. That type of article should help novices in the songwriting and production business to understand how to get specific results and should act as a source of inspiration for your future productions. For all others reading the article, it can be a small diary entry to be sure that we are continually working on our upcoming projects and get some behind-the-scenes insights of those as well as final release announcements. This time, I will briefly talk about the keys and sound effects (SFX) recording for “Come Back”.Continue reading →