EQ Magazine - February 2009 - (Page 22)

THEATER PIECE The goal was to capture organic sounds, and what better environment to surround yourself in natural ambience than in an oldschool acoustic space—a theater? For Franz Ferdinand’s third album, Tonight: Franz Ferdinand [Domino], the band sequestered itself into its Victorian-era, rehearsal-space-turned-recordingstudio in Glasgow, Scotland, with producer Dan Carey to alchemize its live-concert energy and finely tuned rehearsals with some studio wizardry. Comfortable in their own “home,” and blessed with a bunch of sonically compelling spaces within the theater’s architecture, the band members spent a lot of time seeking out the perfect tones, capturing the most exciting performances, and bathing everything in the sweetest ambient vibes. So, grab a drink before curtain call, find your seat, and thrill to the words of Carey and Franz Ferdinand guitarist/keyboardist Nick McCarthy as they detail the preparation and recording techniques that went into the making of Tonight. Tell us a little bit about your new rehearsal/recording space. McCarthy: We found this old town hall near the shipyards that was converted to a theater. It’s kind of a rough place, but it’s local, and it feels good to walk in there. It has a lot of character—like an old guitar. We started rehearsing there because it’s incredibly cheap to rent, and, most of all, it has some amazing-sounding spaces: the stage, a small room underneath the stage, the hall, the corridors, and the dome. All are perfect for recording in. Did recording in your own studio make Tonight: Franz Ferdinand a different experience from the previous albums? McCarthy: Our last album was put together fairly quickly, so, this time, we spent a while writing, rehearsing, and fine-tuning everything. We knew we wanted to step away from the angular, jagged guitar riffs. We wanted to slow it down and smooth it out a bit in places, in order to allow the bass ample space to move around. It’s definitely more of a rock album, but it’s still danceable. Carey: One of the main themes of the album was really committing to sounds. We spent ages and ages getting a sound, but once we got it, that was it. We wouldn’t go back and record the song again. Also, we didn’t want to get bogged down in recording five different takes of everything with loads of different miking techniques. We had to make sure that everything was just right the first time. McCarthy: We spent about three months rehearsing the songs in the hall, getting to know the sound of the different spaces. Then, it came down to figuring out which songs— or which parts of songs—should be recorded in which space. How did you end up utilizing the different spaces in the building? McCarthy: Our favorite spot is underneath the stage, because it produces a dry, but warm R&B kind of sound to the drums. We did a lot of the basic tracks in there. Most of Franz Ferdinand (left to right): Bob Hardy (bass), Paul Thomson (drums, percussion, and backing vocals), Alex Kapranos (lead vocals, guitar), Nick McCarthy (rhythm guitar, keyboards, backing vocals). 22 EQ FEBRUARY 2009 www.eqmag.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - February 2009

EQ Magazine - February 2009 Contents Talk Box Sounding Board Dave Cooley Low vs. Diamond Hank Williams III Travis Franz Ferdinand Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Apple Logic Pro 8 Cakewalk Sonar Near-Field Monitor Roundup Gadgets &�Goodies Sounds Room with a Vu

EQ Magazine - February 2009

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