Ogres Musical Adventures


#1

Hey guys. Last night was a total success. We have a U.S.D.A grade A recording studio built. All systems go and ready for launch after first of the year. One minor component on order, a mic stand mountable personal headphone amp for guest performers. That’s it. Each performer will have full control over mix via IPad. I’m excited!


Sous Vide 101 (and 202, 303)
#2

Awesome, my dad recently joined a band, he plays bass and they practice at a brand new studio, I’ll try and get some photos of it


#3

That has to be a great feeling and having everything set up like you want is just awesome. :smiley:


#4

Thank you @Grubby! Got me own thread! You’re dad and I may have a lot in common. Two geratrick bass players still lovin playing. Would love to see pictures! I’ll try to get a few snaps to share myself. Ours is not fancy, but functionally it’s really nice. Good sonics in both the performance area and the control room.


#5

I confess, I’m ecstatic. Ran white noise calibration on the control room and it was damn near flat without any eq. I could hardly believe my eyes. All the networking came right up in all the recording software without a hitch.


#6

First out of the hopper. Rather than try to explain my sporadic attendance I’ll just post my adventures.


#7

That’s a big smile on that Smiling Ogre. :smile: What a tasteful choice and a good rendition. Ahhh what fun man! :clap:


#8

So, hows the recording going? Everything still good?


#9

Pretty good. We have hit a bit of a snag. We were getting pretty close in my mind with our second song, Locomotive Breath and our drummer brought in a recording by the Black Crows and demanded we make Loco sound like Black Crows. I’m not sure how that’s done. Entirely different sonic make up. This could be difficult.


#10

Sorry, my answer was a little short. The project has become a substantial endeavor. First and foremost we as a band are learning how to go about this. My thought was that the rules to the game were that each musician would pick their own sound and we would make the best of it. The other band members thought I could turn flutes into tubas. Through this latest forae, we have learned about garbage in and garbage out. This is a very positive step. They had to go through it to get it. Ya just can’t use the same “voices” on instruments for recording that you do for performing. We’re creating an “image”, a mirage if you will that comes out of a home stereo and gives some sense of a live performance or moveover, a stand alone piece of artwork. We did some critical listening to recordings that they really admired and learned that the songs were written or “engineered” to support the end recording before any recording was done. Each voice was picked for it’s ability to present a certain way in a recording not a live performance. A lot of light bulbs are going on right now and a lot of really productive work is being done. Ya can’t just pick some “really cool” sound off the cuff and expect it to pan out in a recording. That “really cool” sound may project through our PA system just fine but it will cause havoc in a recording played back through a consumer stereo. Now they are thinking about where their sound will “sit” in a mix and if it will be isolated enough in frequency band to retain it’s quality without masking something else in the mix. They are also learning about the difference between blending and masking. Sounds like mixing e-juice doesn’t it? A lot of similar postulates. They are hanging in there real well. We’re building an impromptu vocal booth next. Love working with these guys. We have occasional heated exchanges but it’s all with the same end product in mind. We are also doing great at keeping everything non-personal as it is. Every scuffle has projected us in a positive direction. We are learning a lot about the art, each other, and ourselves.

We cleared the snag with Loco Breath as I got an ass kicking render just today. That has spurred a number of changes to voicing that we will make to take it to the next level. Pretty crazy to be doing this at my age but I’m having a blast.


#11

That’s just awesome man!!

There’s SO much you’ve covered there that so many never ‘get’, much less know about/understand!

I’ve got a solid understanding, but still have tons to learn in these areas as well. Though I’ll likely never get the chance or time to.

Kudos on the leaps and bounds!! And to the lot of you for not letting it get personal. (That’s a tall order among many musicians, and speaks highly about all of you!)

Living vicariously over here with fond memories of actively being in a band and home recording! /thumbsup and cheering


#12

OK I think I get it now. It sounded a little odd and surprising with the Black Crows thing but that puts it in perspective.

“What one does is what counts. Not what one had the intention of doing.” ~ Pablo Picasso


#13

I very much appreciate your response and I love being able to share the experience(s) with someone who “gets it”. There really is a lot going on and on so many planes.


#14

Ya, the Black Crows thing really threw me. He played it for me and said he wanted us to sound like that. I had no idea what aspects of the recording he is talking about because the sonic make up of the two songs have no commonalities. I went back into the mix and went for separation of instruments the best I could. I think that was it. He loves the mix. That was a tall order. Black crows use a minimalistic kit, two guitars (one background) a keyboard (right hand only) and a bass. Our version of Loco has three keyboard parts, three guitar parts, an extended kit, bongos, and bass. Of course both have vocals. Then of course there’s voicing. Black Crows us toms that are all transient attack. Our drummer chose toms that resemble tympany. Booming. blooming voices that resonate forever. Once I explained the characteristics of the problematic voicing, he got it. It helped that he had done a recording at a professional studio and hated what the engineer did to his drums. Once I explained that the poor engineer had no choice but to alter them for the mix it all made sense.


#15

I have to tell you… as someone who does not ‘get it’, I certainly have a lot of respect for the process. So many of us folks who are just ‘listeners’ pretty much think “Well, if you know how to play an instrument, and carry a tune, then all you need is a couple good songs and a lucky break.” It’s really something to get these sneek peeks behind the curtains that show us gleeps just how much there really is to all this magic.


#16

I think you might be a little hard on yourself here but I’m thrilled that you are getting something out of this. Engineers and producers with tens of thousands of hours of listening time will go WAY beyond what I know to listen for. They will pick up on subalties I’m incapable of perceiving. Then of course there are the “fashion designers”. Those who predict and create trend and direction. Thankfully, that is something I don’t have to deal with. We’re making an album for us not to try to sell to the public. This project is void of promotion which is another complete industry in itself.


#17

Well for someone who says he doesn’t "get it " I think you nailed it. IMO there is nothing else close to real magic as when everything just clicks together and you make some art with fellow musicians. The best I ever played was in shitty little clubs on ‘off’ nights. Then that magic happens.


#18

Its like the best sex you ever had except with instruments and music. Those few special times when everything everyone plays and improvises is perfect. Its that total zen thing where there is no thinking or premeditation… you feel every note and it all just flows.

Its really gratifying to get a big crowd to its feet. On the other hand, some of the best music I ever played was with an incredible guitarist who had no ambitions other that to play because he loved it. Its a shame he didn’t share it with others. Just me and him playing to an audience of nobody.


#19

and @mrpipes

Had dinner with the keyboard player the other night and we were marveling over this phenomenon. I picked up the word “crystalize” from another author to try to explain it. Total immersion into the music. Everything else is gone. Time, space, surroundings are all warped. It’s the closest thing to what I have heard described as an out of body experience that I have had. The music becomes life of it’s own. To share that with others that appear to understand the experience such as a responsive audience is nice but tangential to to the experience of creating the “life”.