Just did up a list of remaining tasks – 75 in total. Picked up our Dead Room Wall Lights tonight from my mate Monica who cleaned em up and rehung all the glass parts. They look great. 75 seems daunting given that we want to get in by the end of the month, but it is doable with a bit of luck…
Well that’s the base colours done. A litre of this stuff ended up all over the floor of my car 😐
Still, next up the stencils then we can say goodbye to paint.
So today we started the skirting boards and cleared out the live room. Amazing job done on our 2nd control room door, all set to paint her up. Tomorrow it’s paint time. Ever closer…
In with Fergal Davis mastering the new album by the lads from Gorey – really interesting to watch him at work. Feedback on the mixes good so far, and the finished versions are sounding great. For what you would think is a simple process there sure are a lot of channels, outboard and plugins involved!
Very cool how he can do mid/side processing on the mix, allowing different eq and compression for the centre and the sides (L/R) of the mix; a German company called Brainworx make a plugin dedicated to this processing that he is using, and it sounds really great. Of course the gear is only as good as the person using it, and he is obviously well used to the sound of his setup
When it comes to putting the art in music and examining the method and process of recording in order to improve the result, Brian Eno is the man. He has been involved in a large number of my favourite albums, and he introduced me to so much good music just be researching his history.
I just stumbled upon this wee quote, something he said back in 1990 when recording with John Cale. Lamentable that this approach is all to audible in the results we hear all over the place today…
“Yes, that’s true. Having more options is part of the fix-it-in-the-mix syndrome that has bedevilled recording since 48-track and all that kind of thing. What you often see is people failing to make a decision because they can postpone making a decision… this shows a weakness of nerve to me. The danger is that you finally come to mixing and it’s then that you decide what piece of music you’re working on. The thing has never really assumed an identity. One of the nice things about the sort of Manchester groups is that they’re rather Luddite in that way. It’s like, ‘bollocks to all this, let’s get some simple instruments together and do some playing’.”
Here is some more fascinating listening for fans of his work or those interested in production and recording, old school.
Here’s a wee snap of the simpler colour scheme for the Dead Room. Next photo will be the finished product
The last few days I’ve been mixing new music by Ground, some crazy noisy beautiful unpredictable loveliness from Scotland. As well as getting to work with some amazing and interesting material, I also had the opportunity to use Sonar – Cakewalks’ DAW. Bit of a learning curve but it is nice to use (apart from how it handles automation – Logic still unbeaten there).
It comes with compression, EQ and tube saturation as standard for every channel. This would be great for those starting off on the mix engineer path as the controls and parameters are well labeled, you get to try FET and VCA compression flavours (mimicking an 1176 and the master bus of an SSL desk respectively) and three differ EQ ‘flavours’ – all very useful and nice and musical.
Anyway, here is what Sam (from Ground) and I were looking at for the last few days. Note the ironing board.
We will be using some combination of these pinks, purples and plums with a stencil to create a kind of damasque wall pattern, and the dark blues are for the ceiling…
That’s enough of this nonsense for the day, back to real work in the morning.