Recording - September 2012 - 27

For that record in particular, it was a split between soft and real synths; we used a Juno, and Oberheim and a Prophet, but we also used a lot of the Arturia synths; it just depended on what were looking for. I always try to find what people respond to in music and shoot left or right; if we want a string sound, we might use a Mellotron sound, or something from a Juno and run it through an amp. Your new studio is smaller than the previous one; what do you do for drum sounds? If we need a tight sound we’ll stay here, but we’ll definitely go to a larger facility if we want to capture a full room sound, like Infrasonic in East LA, for example. Please talk about the mixing process. I send the record to my mix engineer, Thom Flowers, who always takes the recordings to another level and does an incredible job of interpreting what we were going after. If we end up feeling like the songs aren’t quite amazing yet, or that the sound isn’t right yet, we’ll shelve the songs and start a new batch with the same process: working quickly and acting on instinct to create something great. Sometimes this process goes on for three or four rounds, which can take upward of a year working part-time together, but it’s always worth taking the time to find that marriage of great songs and a killer sound, which will immediately strike a chord with the listener and the industry.

But you don’t work with formulas. The old cliché in making records is, “There’s no one way to do it,” and it’s a cliché for a reason. When I started out it took me quite a while to not obsess over the “right” way to do things and to really just trust my ears. Some of the best records I’ve produced have some really bizarre accidents that birthed incredibly great recordings— things that would be considered really stupid ways to mike things. Can you give me an example? We were doing guitars for an artist names Stephanie Quayle. We needed a guitar solo cut, and wanted a great country sound, so we got Dwight Yoakam’s guitarist, who happened to be in town; I accidentally patched the bay one patch over, so the signal we were getting was coming from the vocal mic that was sitting in the iso-booth, and not from the one that was placed in front of the amp. I remember thinking it was sounding odd, but the player was ready to go, so I just tracked him, he kills it in two takes, and leaves. It had this weird distant sound to it. I just started looking and listening to the file wondering why it sounded so odd, and that’s when I discovered the problem in the patch bay. So, the solo was the sound of the mic facing the other direction four feet above the amp, and it actually sounds amazing. It has a dark and distant tone. Then again, my writing partner sang a whole take of a song we needed for a movie with a fake British accent, as a joke, but we ended up using it because it was perfect for the placement. Sometimes fooling around also results in great things!

Learn more about Jim’s label and projects at www.redparademusic.com.
RECORDING September 2012

27


http://www.t-funk.com http://www.redparademusic.com http://www.t-funk.com

Recording - September 2012

Table of Contents for the Digital Edition of Recording - September 2012

Recording - September 2012
Fade In
Contents
Talkback
Fast Forward
State Of The DAW: 2012
WaveMachine Labs Auria
Cascade Microphones Fat Head II Active/Passive Ribbon Microphone
Jim Roach
Audio-Technica ATM25/LE Dynamic Microphone
Reviewed and Revisited: Yamaha 01V96i
Reviewed and Revisited: Adobe Audition for CS6
Recording Fundamentals. Chapter 9: Signal Flow
iOS Music Tools: IK Multimedia SampleTank for iOS
iOS Music Tools: Retronyms Tabletop
When A Musician Needs A Music Video
Focusrite Scarlett 2i2
iOS Music Tools: Camel Audio Alchemy Mobile
Recording’s Showcase of Sounds
Readers’ Tapes
Advertiser Index
Fade Out
Recording - September 2012 - intro
Recording - September 2012 - Recording - September 2012
Recording - September 2012 - Cover2
Recording - September 2012 - 1
Recording - September 2012 - 2
Recording - September 2012 - 3
Recording - September 2012 - Fade In
Recording - September 2012 - 5
Recording - September 2012 - Contents
Recording - September 2012 - 7
Recording - September 2012 - Talkback
Recording - September 2012 - 9
Recording - September 2012 - Fast Forward
Recording - September 2012 - 11
Recording - September 2012 - State Of The DAW: 2012
Recording - September 2012 - 13
Recording - September 2012 - 14
Recording - September 2012 - 15
Recording - September 2012 - WaveMachine Labs Auria
Recording - September 2012 - 17
Recording - September 2012 - 18
Recording - September 2012 - 19
Recording - September 2012 - 20
Recording - September 2012 - 21
Recording - September 2012 - Cascade Microphones Fat Head II Active/Passive Ribbon Microphone
Recording - September 2012 - 23
Recording - September 2012 - Jim Roach
Recording - September 2012 - 25
Recording - September 2012 - 26
Recording - September 2012 - 27
Recording - September 2012 - Audio-Technica ATM25/LE Dynamic Microphone
Recording - September 2012 - 29
Recording - September 2012 - Reviewed and Revisited: Yamaha 01V96i
Recording - September 2012 - 31
Recording - September 2012 - Reviewed and Revisited: Adobe Audition for CS6
Recording - September 2012 - 33
Recording - September 2012 - 34
Recording - September 2012 - 35
Recording - September 2012 - 36
Recording - September 2012 - 37
Recording - September 2012 - Recording Fundamentals. Chapter 9: Signal Flow
Recording - September 2012 - 39
Recording - September 2012 - 40
Recording - September 2012 - 41
Recording - September 2012 - iOS Music Tools: IK Multimedia SampleTank for iOS
Recording - September 2012 - 43
Recording - September 2012 - iOS Music Tools: Retronyms Tabletop
Recording - September 2012 - 45
Recording - September 2012 - When A Musician Needs A Music Video
Recording - September 2012 - 47
Recording - September 2012 - 48
Recording - September 2012 - 49
Recording - September 2012 - Focusrite Scarlett 2i2
Recording - September 2012 - 51
Recording - September 2012 - 52
Recording - September 2012 - 53
Recording - September 2012 - 54
Recording - September 2012 - 55
Recording - September 2012 - iOS Music Tools: Camel Audio Alchemy Mobile
Recording - September 2012 - 57
Recording - September 2012 - Recording’s Showcase of Sounds
Recording - September 2012 - 59
Recording - September 2012 - 60
Recording - September 2012 - 61
Recording - September 2012 - 62
Recording - September 2012 - 63
Recording - September 2012 - Readers’ Tapes
Recording - September 2012 - Advertiser Index
Recording - September 2012 - 66
Recording - September 2012 - 67
Recording - September 2012 - 68
Recording - September 2012 - 69
Recording - September 2012 - 70
Recording - September 2012 - 71
Recording - September 2012 - Fade Out
Recording - September 2012 - Cover3
Recording - September 2012 - Cover4
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