After we already had the drums and bass recorded on tape, we worked on the guitar parts for the new “Soul/R&B Track” 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 →
Mix:analog is the world-first fully manual, real-time controllable online analog processing service for audio engineers and creatives. It’s a web application with a graphical user interface that allows you to control a broad selection of analogue gear over the internet via your internet browser in real-time. Thanks to the platform, you have access to expensive analogue studio equipment that can add character and the needed saturation in the digital age to your production to take it to the next level. Let us take a closer look at the mix:analog service.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”.
Volume 3 of the article series “Outstanding Music Studios” is presenting you another four music studios located in the United States, Spain, Italy and Germany. We will give you a brief overview of how they are equipped and links to their websites so you can explore them more in detail. Enjoy!Continue reading →
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 →
Again, we will have a closer look at outstanding music studios from around the globe. Volume 2 of the blog article series “Outstanding Music Studios” highlights another four music studios – this time – located in the United States, Australia, Belgium and Italy. If you missed the series’ first article, you could find it here. Enjoy exploring the following stunning music studios.Continue reading →
After we talked about virtual amp simulators in the past, the next logical step is to have a look at guitar cabinet impulse responses (in short: IR). Those so-called impulse responses are sound measurements that contain information about the guitar cabinet speaker, the room where everything is recorded as well as about the used microphone and microphone preamp in the particular situation. That set of information is stored in one single .wav file with that you can recreate the recording situation by loading it into a convolution plug-in – or in an easier term – IR loader. Once you have an IR created, it always recreates the same sound you initially captured, and you do not need to set up a bunch of equipment anymore every time you want to get this unique sound. Important to keep in mind is that an impulse response can recreate the signal chain elements coming AFTER the guitar amp head, but does not include sound characteristics of a guitar amp. Therefore, the combination with a virtual amp simulator or a real guitar amp head and a load box is required to get the guitar sound you want (explained more in detail by Pete Thorn here in one of his great Youtube videos). Impulse responses can also be used to recreate room sounds to be used later as reverb in your mix. However, we will focus on the guitar cabinet IRs in the following and where to get those if you do not want to create your own.Continue reading →