Owl Head

Recording Session Notes

2017

Through planning and organisation it was possible to ensemble all the aspect necessary to deliver a proper mixing for the innovative sound of the blues/rock band called “Owl head”. However, RUST represented a complex production as different techniques, effects and processing were necessary in order to enhance its attributes. Consequently, the choices made for “Rust” were based on the analysis of different productions such as “Don‟t cry” by Guns n Roses and “I am Still Loving you” by the scorpions.

Who is Owl Head?

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Owl Head is a 4 piece alt-rock band. Powerful, atmospheric and inventive. Their determination into music has made them winners of different awards and competitions. Furthermore, the band had presented on venues such as Vortex, Underbelly and Strongroom.

Pre-Production

Through the preparation of the strategies needed to achieve a proper recording for Rust it was essential to anticipate the events and techniques to properly record a rock band. The main set up for the overall production was to assemble a rough and lively sound such as the one present in records done by Led Zeppelin (babe I´m going to leave you) and the Scorpions (like a Hurricane). In order to accomplish these aims it was important to follow Paul White´s recommendations by recording the band´s members at the same time. However, it was important to avoid spillage between each instrument by emphasising their locations depending on their acoustics properties (SOS, 2007). The following represents the final floor plan used for the recording session of rust:

Positioning the drums against the wall facilitated the use of the isolation tunnel recommend by Carlos Ferreira as it helped to enhance the assertiveness of this instrument (Ferreira, p178). Moreover, it supported the stereo XY technique from the drummer‟s perspective accentuating the AB technique. The guitar amps were positioned phasing the corners of both extremes of the room in order to avoid spillage between the microphones and any possible reflections. The strategies used for the drums and bass lead to an effective recording. However, the guitars were in retrospective due to the limited amount of microphones which lead to the schedule of another recording session.

Vocals

Vocals Main microphone – Z5600

Backup options – GEMINI T

he Vocalist‟s performance was wide and intense as it changes its dynamic range throughout the track. Nevertheless, the Z5600 provided a well-balanced and lively sound which enhances the vocalist´s singing techniques. Furthermore, the use of the VR onboard compressor at the earliest stage of the recording helped to enrich the vocalist´s performance without generating constant changes on the gain´s structure.

Drums

The use of the isolation tunnel favoured the kick´s sound with slight spillage from the hi hats thought the entire recording. The most suitable choice was the Beta 52 as the kick drum produces a low end that complements the entire track. Furthermore, the D112 helped to bring the kick´s sound thanks to its pronounced presence boost at 2 kHz, which emphasised beater definition. However, Due to the proximity of the Beta 52 to the rear of the kick drum, the microphone did not capture the clippie sound commonly heard in rock productions such as Still Loving you by the scorpions.

Bass

The booster unit used for the Bass (Zoom G3) over-accentuated the slaps done by this instrument which resulted on the constant change of gain. This could have been solved by the use of the TLA 5051 compressor which would have allowed a more natural bass sound free of constant overlapping. Moreover, using an amplifier such as the Fender Bass breaker 007 for the Bass would have brought more fullness to this instrument (White, 2007).

Stereo Techniques

The XY technique allowed the drums to be represented accurately highlighting the cymbals‟ sound. However, due to the nature of this technique a narrow stereo spread of the drums was captured putting in retrospective the positioning of the toms. This could have been solved by the use of alternative stereo technique such as ORTF. Nevertheless, the mixture of the XY and AB stereo technique provided an acceptable stereo spread without the hi hats being in front of the mix.

Mixing

The overall mixing and production of Rust was aimed to enhance the constant changes of tempo and melody that goes from an acoustic start to a powerful chorus/bridge by the use of effects. Furthermore, it was essential to accomplish the mixing by using analogue equipment which facilitates the workflow and provides a particular sound to the overall production (Izhaki, p481). The continuous changes of roles in instrument such as the guitars demanded the use of automation and panning in order to enrich the overall perspective of these instruments. Nevertheless, the production was intended to enhance each instrument by the use of effects and sound design as the track itself lacks of instrumental arrangement in certain parts such as the second verse (2:35s).

The three key elements which were interpreted in order to promote the overall production for Rust were:

Tempo changing

Arrangement

Use of sound design/effects for the overall production

Guitars

Giving presence to the guitars was essential as they play a crucial attribution to the entire track. As these instrument changes constantly their roles (rhythm and Rhythm lead) it was critical to provide some separation by the use of panning, equalisation and gain (example: first guitar (left) quieter than second guitar (right) in the choruses). Both guitars were process using the Neve 8801 EQ and compressor which created a richer and more powerful sound.

The use of effects such as 1,8s Delay (M200) and 1,5ms reverb (DP4) helped to enhance the lack of spaciousness of the guitar which is more predominant on the verses, pre choruses and solos. Furthermore, following Katsav guidance on rhythm guitar helped to include the signal recorded in the AKG C414 to work as an ambience microphone for the second guitar (panned right) which was set to the M4 London room reverb in order to provide a richer and wider impression of this instrument (Izhaki ,p.538). Nevertheless, the use of these effects overlapped and caused some muddiness to the overall track. This could have been solved by the use of a HPF around 100-150HZ.

Bass

Vocals

In order to emulate the airy sound present on Don‟t Cry by Guns n Roses it was important to accentuate the high frequencies without capturing any sibilance (presents at 7,8Khz). This was achieve by using the TL4 5051 in which a fast attack slow release compressor and +1k 1db boost -800K 3db cut equalisation helped to control the overlaps on the vocals on the track. However, some attenuation was still present in the track which could have been solved by increasing the ratio of the compressor. In addition, the use of automation regulated and provided appropriate expressions of the vocals „level to the track.

The bass track comprises both the clean (DI) and dirty (Zoom 50) to provide more fullness to this instrument. The use of the 8801 helped to largely balance the overall bass level and blend it into the mix in parts such as the pre chorus. The Neve VR´s side-chain set up helped to create more room for the kick drum; taking into account the bass decay time/parameters (recording revolution, 2012). Furthermore, following Izhaki advice on Kick/bass balance a 3db 235Hz destructive equalisation was made (mirroring the boost on the kick) in order to avoid potential inconsistencies between these two instruments (Izhaki, 484). Nevertheless, the use of automation was necessary in order to reduce the overlaps on the verses by 2db and to enhance this instrument into the chorus by increasing by 3db the overall sound.

Drums

Kick

As the kick was lacking a clear crisp attack during the entire song, a 3Khz db EQ boost was added in order to give a solid frequency punch. Furthermore, the use of the Neve VR in board compressor controlled the loudness of the kick; making its performance more balanced (recording revolution, 2015. Alexander U Case, p333).

Snare

As the snare benefits from the addition of ambience, a 1,8s reverb was set in order to complement the drum‟s track. Furthermore, the overheads frequency cuts were carefully done to support the sound of the snare and the kick for a consistent performance overall. The on board compressor of the Neve VR set as slow attack slow release was established In order to add a sense of unity to the drums.

Effects

Reverb

The use of parallel reverb made the control of wetness and dryness to fit the track properly. The reverb settings were stipulated by calculating the delay time in which the result pointed at 800ms per quarter note (Alexander U Case, 216-218). Furthermore, a filter was applied at 200Hz in order to cancel the low end frequencies and prevent clouding at the low-mid range. Different reverb setups were applied in each instrument with the aim of providing an individual character to each track (predominant on Guitars and snare).

The most predominant aspect of this production was the use of effects. The three key parts in which effects were used to promote the production of Rust were:

Pre choruses

The use of click and scream (2:55s) using a 2.5 reverb on the M2000 analogue unit. Bridge One of main influences behind Rust´s composition was the report of Arwan Damon and her experience in the Mosul war. Hence, the report of this event was included and used with several pitch shift, delays and reverb alterations (between 1 and 2.5 s) in order to connect the story telling of rust. Furthermore, a low pass (10Khz), High pass filter (2Khz) and boost of 6K was done in order to give a notion of a radio presenter sound (Case, p377)

The effects on the snare changed across the overall production considerably in order to create more interest towards this instrument. The use of the lexicon 480 with the church effect parameters helped to promote this instrument in the Verses and pre-choruses.

The attention to details was the significant element for this production. The importance of appreciating each instrument and analyzing each element such as the lyrics, melody and composition allowed enhancing the project with a new perspective. Further practice will be needed in order to approach and deliver all the key elements for a proper mixing and mastering. However, Rust´s audio assembly showcased majority of the planned and desired techniques which covered all the instrumentation, leading to a proper production.

Written by Cesar Portillo

2017

Thoughts on the session