My Finished Tracks…

This is the final bounce of my first track. I am generally pleased with the results, but if I had more time I would have re-recorded the drums to make it sound altogether a lot tighter. Andy’s time keeping on the guitar is really very good this is why we decided to do a raw take with no metronome. So next time we could try recording to a click track to help tighten the whole track up even more. I think that next time I record with Andy we will record the guitar and vocals at the same because he felt that there was a certain amount of passion lacking in the guitar playing without it. I thought the guitar playing sounds prime anyway, but I it another factor to take into account anyway.



This is the final bounce of my second track. There are quite a few things that I would like to do better if I had more time to do this piece. First of all, I would have liked to spent a lot more time concentrating on the Synth part, I would have played some chords over the top instead of just single not gestures. I would also have liked to spent more time playing around with the effects, making the strings sound a bit more unusual. When we recorded the Bass part, I think  the mic was too close to the amp, because there was a lot of idle buzz, which I didn’t really like. This piece also would have benefitted from the use of a metrenome to keep everything in time again. There was a slight mess up in the studio with the vocals, which was that we didn’t have a pop shield to record the vocals through. I blame Richard Taylor, haha! Just kidding. So we recorded with the AKG 414 with its little pop shield which isn’t was I wanted, but never mind. Also with the vocals I think the Double tracking effect might be a bit too much in some parts. If we had more time, I would have taken lot of different takes of the vocals and selected the best bits. The use of reverse reverb did work well, but I would have liked to have had more time to apply it more carefully. Also when I bounced the track, I left a muted region in the project at the end so there is a few seconds of silence at the end and I really don’t like silly imperfections like that, but I got booted out of the studio by the security man so I couldn’t re-bounce it. My bad organisational skills. Andy’s guitar playing playing was still fantastic though, so I still like the track anyway. Especially the big bass part, which I kept quite prominent in the mix.

What I plan to do stylistically…

For my second studio track I would like to use George Martin’s style of double tracking on the vocals. Instead of just using the Automatic Double Tracking plug-in, I want to do two separate takes and then pan one in the left channel and the other in the right. I want to experiment with George Martin’s technique of recording onto a 4-track. I will have the drums bounced down onto track 1, the bass and acoustic onto track 2, the strings on track 3 and the double tracked vocals on track 4. George Martin also experimented with close micing instruments, especially the drums, which they put lots of compression on. I would like to close-mic the acoustic, focusing on picking up all the little nuances that makes the acoustic so special. I would also like to try the reverse reverb technique of Zappa’s. I heard it on Andy Bucklaw’s piece and thought it sounded very effective.

This is a link to a video that explains a lot about the George Martin and the Beatles’ recording techniques that I would like to do.

Some Production Techniques

Reverse Reverb from Zappa

Now this is a bit tricky, so apologies if my explanation isn’t very clear. This technique was pioneered by Jimmy Page (Guitarist for Led Zeppelin), which is where you take a reversed recording, play it through an auxuiliary channel with the reverb effect on it, then bus the signal through to an audio track where the recording is picked up and then reversed. Now the effect of the reverb plays in reverse, coming in first, but the original audio is now playing forwards. If you follow…

Automatic Double Tracking from George Martin

This is a Studio Production technique that involves the recording of the same thing twice over and then playing them back together, which gives the sound a certain feeling of width. This is something that George Martin (producer for the Beatles) used in his productions with the vocals.