Posts Tagged ‘recording studio’
Over the last week I’ve been mixing a new record by Warbler (this project was tracked and is now being mixed at SQ). I’ve finished the first round of mixes for 6 songs and wanted to share a couple of them with our blog followers. Both have not been mastered and are not final mixes.
- John
Worry:
Skism:
Here is a preview of three songs off the new OJO record “Ocean View Estate” which is releasing tomorrow (July 13, 2010). The record was mixed by John (SQ) and mastered by Jeremy (SQ).
La Bolsa Blanca:
Three Rooms/Bubble Wrap:
Facing West:
The following are three tracks from Lazertag’s August 10, 2020 release “A Minor Loss of Fidelity”. Jeremy (SQ) co-produced, tracked, mixed, and mastered this great record.
Strange Glow:
Buildings Of A Former Century:
The Cold And The Silence:
The following are a few tracks from Fuck I’m A Ghost’s debut self titled record (out on vinyl now). The record was tracked by Jeremy and John (SQ), mixed by John (SQ), and mastered by Kramer in Florida.
“Drop Of A Hat”
“Stop”
“Winners Cup”
The following are a few tracks from Le Vice’s debut self titled release (due out August 17, 2010). This record was tracked, mixed, and produced by John (SQ):
“Shy Guy”
“Why Fight”
“Uh Huh”
Dubious Ranger was a Deli SF Artist of the Month winner. The following three songs appear on their “Big Ghost EP” which was tracked at Studio SQ and later mixed/mastered by Jonathan Eccles:
“Sailor King”
“Carillon”
“Why Call It A Crime”
The following is an article titled “In the studio with Chloe Makes Music” which was published February 17, 2010 by The Deli Magazine SF. The article is copyright 2010 by The Deli Magazine and may not be reproduced without permission of the owner. You can read it and other great articles on SF music at http://sf.thedelimagazine.com.
In the studio with Chloe Makes Music
Chloe Makes Music
For some artists, their time in the studio can be a working environment that is rather personal and closed off, not for the public. For those of us on the outside of the event, it can seem like a mysterious and secret process that piques the curiosity of those that appreciate a persons ability to communicate through song. That’s why when Chloe Roth of Chloe Makes Music contacted The Deli to see if we’d like to sit in on a recording session at Studio SQ we jumped at the chance. Who wouldn’t want to observe and listen like a fly on the wall in the moment that an artist puts their creative expressions into a fixed medium?
Twice a month, the readers of The Deli SF vote for their favorite nominated artist of the month. These artists not only rewarded with a banner on the site but also with free studio time from the poll’s sponsor Studio SQ. As a musician trying to make it in the second most expensive city in the US, free studio time is a very good thing. Back in the second half of October 2009, Chloe Makes Music was chosen by the Deli readers as the Artist of The Month and this was the first time that anyone at the Deli was able to see the poll process come full circle.
We visited Chloe in the studio on day 5 of a 6 day recording marathon as she laid tracks with producer Chris Chu [vocalist for The Morning Benders] for her upcoming debut LP. Studio SQ has a nice warm welcoming feel. You’re greeted by a friendly brindle boxer the door who naps on the couch when shes not monitoring the activity around and the studio itself is large and open and filled with a lot of wood which gives it that comfortable, home-y feel. It’s almost hard to believe that such an intimate place can exist in what is a primarily industrial part of the city.
Chris Chu
Chloe is recording backing vocals for the current track that they’re working on, “The Puppeteer,” and Chris is preparing to sit at the piano for the next segment of the recording. Chloe explains, “I want it to sound like there are puppets singing” – an appropriate request for a song about a person that manipulates marionettes. Chloe was concerned that I might be bored but I wasn’t, not even the slightest bit. Boring is watching me sit in my small studio apartment trying to create sentences to describe what had taken place. Mostly, I was intrigued by what sounded to be an almost complete track with some lovely haunting harmonies.
As the afternoon begins to wind down, Chloe and Chris discuss which elements are left to record and begin to coordinate their final day in the studio. I decide to take this as my cue to slip out and allow the creative flow to be uninterrupted. I say a quick goodbye and quietly leave. Outside, the sun is almost gone and I realize that there is a catchy melody of puppets still singing in my head.
The Deli SF would like to thank both Chloe Makes Music and Studio SQ for allowing this unique opportunity and we look forward to hearing the finished product!
-Nicole Leigh
The following is a track off “The Dead Western’s” recent self titled release (tracked and mixed by Jeremy at SQ):
“Thunder Road”
The following is a track from artist Red Blue Yellow:
So you’ve finished tracking and mixing your record and are now ready for mastering. The following is an article supplied by Mike Wells on preparing your content (i.e., final mixes) for mastering. While some of it may seem like common sense, it serves as a good check list and will help ensure that your mastering experience goes smoothly. You can find this article, as well as other great articles on mastering at Mike Wells website: www.mikewellsmastering.com.
- John
GENERAL NOTES:
Delivering Media:
You may deliver your digital files (.WAV, .AIF, etc…) via FTP transfer. Upon confirmation of booking your session, you will be provided with login/password information.
If you are mailing your media (any media type) and using the US Postal Service, you are strongly encouraged you to purchase Delivery Confirmation. The additional $0.50 is worth $500.00 in headaches when you don’t know where your package is and the USPS isn’t helping. Other carriers (UPS, FedEX, etc..) have tracking numbers by default. Please email the carrier type used and tracking number when you submit materials via the mail to avoid delivery problems.
Digital Processing:
In general, there are a number of tools available to you in your DAW that you should avoid using on your audio prior to mastering. Therefore, please do NOT use the following on your tracks after you have mixed them:
• Limiting / Maximization / Compression
• Normalization
• Fade-Ins or Fade-Outs
• Equalization
Track Sequencing:
You don’t need to have your tracks in the proper sequence prior to mastering. The proper track sequence will be created in the mastering workstation at the time of your session. It is, however, a very good idea to have an idea of what order you want the tracks in or a few versions of track order.
If you would like cross-fades to occur between any adjoining tracks in the sequence, I recommend creating an example of the crossfades, track sequence, and track ID’s as you would like them as an Audio CD. This will greatly aid in the sequence step of the mastering process.
Labeling:
“The More The Merrier” is the thing to remember here. The more specific your documentation is, the smoother your session will go. If you are submitting multiple mixes of the same track, please note the differences on your media. For example: Track 3 “A New Day” (Vocal +1dB).
ANALOG TAPES:
If you are providing your mixes to mastering on analog tape, please follow these guidelines:
• Print alignment tones on your tape for 30 seconds/per tone at 0dBu (1kHz, 10kHz, 15kHz, and 100Hz) at the beginning of each reel.
• Keep tapes tail-out to prevent print-through.
• Include the following information on each tape box label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on reel
— Times per song
— Tape Speed
— Record level for 0dBu in nw/M
— Record eq (CCIR or NAB)
— Stereo or Mono
— Any notes you would like to add about the tapes
DAT MEDIA:
Follow these guidelines when submitting DAT tapes for mastering:
• Always send in a Digital Copy of your original DAT, and keep your original
Create a track ID marker at the beginning of each track on your source DAT
• If you haven’t mixed yet, it’s a good idea to start recording after the first 2-3 minutes on the DAT, to avoid any bad tape at the head of the cartridge.
• Print a 1kHz tone at 0dBu as it reads on your mixing desk. You will notice a difference in value on your DAT machine (depending on the make/model).
• If you will be mixing to DAT, I recommend using (or renting) a high-quality A/D converter to interface with the DAT machine, rather than using the converters built with the machine.
• Include the following information on each DAT tape label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on cartridge
— Start times of each track
— Approximate length of each track
— Sample Rate (44.1 or 48)
— Bit Depth (16 or 24)
CD-R /DVD-R /DVD+R MEDIA:
Follow these guidelines when submitting removable disc media for mastering:
• ISO 9660, Hybrid, or Joliet formats are required. If you are on a PC one of these will come by default (most likely Joliet). If you are on a MAC, you will need to find the option in your CD Burning software to specify ISO 9660 or Hybrid (Mac & PC compatible). In software such as Toast this setting is in the Options dialog.
• Put your media in a case, avoid paper sleeves or no case/sleeve at all.
• Include the following information on each J-Card label:
— Artist
— Release
— Contact information (Name, Phone number)
— Song titles included on the media
— Sample Rate (16 – 192)
— Bit Depth (16 – 32)
— File Format used (.WAV, .AIF, .BWF, .SD2, etc…)
— Stereo or Dual-Mono
CD AUDIO:
CD Audio is the least-attractive option for submitting your mixes to mastering. For example, if you have been working in a 24-bit format (ProTools, etc..), then creating an Audio CD to submit to mastering is incurring a bit reduction that can be avoided.
ALESIS MASTERLINK:
If you are mixing to an Alesis Masterlink, please use or rent a high-quality A/D converter to use in front of the Masterlink, rather than its internal converters. Once you have your mixes in the masterlink, please name the tracks as specifically as you can using 8 characters and create a CD24 disc of your mixes. Why 8 characters? The CD 24 format is basically the ISO 9660 format, and this format will only create a filename with 8 characters. Therefore, if your track is called “A New Day” and it is the Vocal +1dB version, an example would be “NEWVOX_1″, etc…
OTHER DIGITAL/OPTICAL FORMATS:
If you would like to send in a hard-disc, or media from another external digital recorder, please follow these guidelines:
• Create a backup of your original media, and send the BACKUP
• Please advice in advance what format/media you are sending in. You will be advised if a rental is necessary.
• If the device supports export to a 2-track digital format like .WAV, etc… that may be a preferable route for you, simply provide the .WAV files/etc… on a CD-R or DVD+/-R.
This document is Copyright 2010, Mike Wells Mastering except where otherwise noted. It has been reproduced with permission from Mike Wells and may not otherwise be reproduced in any manner without the permission of the copyright owner.