This morning I was reminded of an occasion when I had to face extreme negativity towards the music I made and the people I was making it with. This particular incident happened around 12 years ago and to my shining glory, it was all captured on video and broadcast for the world to see.
I was never a fan of “talent” shows. Pitting talented people up against each other to deem who was more worthy of getting closer to a grand prize was never going to actually work out well, was it? No matter how much faith you and even the people closest to you could have in your art, your skills and worthiness would be deemed by people who might have been having a bad day. I went along for the ride, it seemed like a good idea at the time and sure, what other means did we have of getting ourselves known to the general public and to what we hoped, would be relevant music people? The occasion also served as a common goal for us to work towards. We needed such goals for they came few and far between.
Smokey-eyed, hair teased sky-high and armed with our guitars, we set off with a killer song we were sure to assert our authenticity, credibilty and artistry. Our song was simply kick ass: co-written with top Irish music producers, we had riffs, guitar solos, hard hitting drums and a singalongable melody. We poured so much hard work into crafting the song and we felt it set the benchmark of who we were and who we wanted to become. Personally I had struggled so hard with the sound of the band for years- I always wanted us to rock more.
Of course, when I say “we”, I mean myself and the singer. It was a complicated set up because we were the ones with the vision and the drive to carry the band on, year after year. Drummers and bass players came and went and though we always wanted them to feel a part of the band, they could never be really. The band was a two-piece and even we ourselves, couldn’t handle that. We thought a band should be a 4-piece. Looking from the otherside, those subsequent musicians must have felt like aliens, stepping into our world. We had years of experiences together and had clearly grown together, anyone else joining us must have felt like enablers to our cause. Our cause, not theirs.
It was so very hard to find the other two members of our band, but we did eventually find them, in fact it was only a year or two later when we did. Which seems like a short time frame looking back but back then, it felt like forever. And when they came into our lives, it just clicked and felt right straight away. They got what we were doing and were actually excited about it. But that lineup isn’t the subject of this reflection.
So there we stood, four early-twenty-something year olds, with our guitars and Converse runners, on that stage. Huge cameras pointing at us and 3 people sat behind a table, waiting for us to show them what we had. We were immediately put off, this wasn’t your usual gig. Where was the audience? Where was the vibe?! It felt like a science experiment. Cold, calculated and analytical. And we were expected to show the best version of our art under those circumstances.
Off we went, I started the sha-bang with my signature power chord chuggy riff, followed by the singer with her melodic hypnotic melody. Seconds later, BANG! The rest of the band came in and we were off. We rocked our socks off. Okay the bass was out of tune and the drummer gave us perplexed looks throughout but we held it together. Maybe I shouldn’t have held that high F# during the breakdown, a nice F# power chord feeding back would have been tastier sounding but still! We were pretty damn tight.
To be told your image and your sound was a joke directly afterwards though was humiliating. One of the other panelists did apologise on their behalf but it meant nothing. It seemed shallow. My chest tightened up in disgust and I actually don’t know how the voice of the band was able to say calmly “Thanks for your opinion” because I was ready to cry! How angry I was to be called a joke. What was funny about us? What riled that person up so badly that they needed to hurt us so viciously? It was the single most rudest comment ever made to me in my life to date and ever since, I’ve always thought that person was hollow.
Especially when we came back the following year with our new lineup, they couldn’t get enough of us. What the difference was, we could never understand. I’ll still never understand.
On reflection, I believe that person was sent to us to teach us a lesson about respect and dignity. And I also believe that person was sent as lesson to me, personally. Meeting people like them, the ones who show disrespect and claim your art has no value can be hurtful to your very core but you’ve got to remember why you make art in the first place- for yourself. If you don’t make (in my case) music, that you personally enjoy, how will you ever expect people to find value in it? The music industry is vicious, it’s always looking for the next hottest thing, the catchiest single, the most mouldable people to exploit. It’s very easy to throw your hands up and fall into trends in order to make that hot record that people will deem worthy of radio play or whatever. And if that’s your path, cool. Just be mindful then that it’s not art your making, but a product. And if you’re cool with that, then cool. I’ve only ever created music that I wanted to hear and yeah, maybe that’s why the band never made it.
Not everyone has to like what you’re doing or get you, it’s grand for others to have opinions but to be told that you’re a joke is the wrong way to go about saying “You’re not what we’re looking for”. I’ve met people since who didn’t particularly care for my music production style or my thesis idea but for that humilating experience in 2006, I’m more able to cope with it. I believe art is about making something you want, not what other people want. I’ve been called a “maverick” multiple times by ones closest to me and I’m reminded to keep doing what I’m doing. We all need a reminder like that once in a while and if you’re reading this and that’s all you get from it, cool.
The next time you meet someone who openly mocks you, just stand your ground. Don’t bother arguing with them. They don’t like you already for some reason, they’re not going to change their mind if you argue back.
On reflection, maybe I should have sought different people to rock out with. People that were into the music I was into. But I always had blind faith that this was the right band to be in, even though they wern’t particularly into the hairy heavy rock bands I was into, they were interested in recording music and writing songs and playing on stage. The fact that they were different from me was always going to result in things I couldn’t foresee and even though that bothered me at the time, I see now that was a great, organic thing.
I’m still evolving. I’m still learning, thinking, reflecting and more importantly, I’m still creating. I like what I create and I don’t actually care if you don’t. I’m open to suggestions to improve my art but really, I have to make music for myself. If you like it, yay! It’s all about vibration. If you like my vibe, happy days.
So in conclusion, always stay true to yourself and never twist your art into something you think people want. It just won’t serve your spirit.
Since the beginning of time, (okay LOL!), since I can’t remember when, I’ve been aching to go to a Beach Road Studios workshop. After stalking/befriending JUNO award winning producer Siegfried Meier for many years on Facebook, the timing suddenly became RIGHT earlier this year. He announced he would be running the final ever Beach Road workshop this autumn and I knew, this was it! It was like the stars had alligned for me as it was happening on my week off! Within minutes (yes, I made the decision that fast) I had flights and accomodation booked, Canada, here I come!!!!
But how does a random audio girl from a sleepy, Irish countryside Nowhereness, find out about a mega, award winning, from Germany but living in Canada most of his life, music producer and his private, super-amazing-awesome studio?
When Kittie blasted onto Irish TV screens via the kick-ass medium that was (still is? is it? I don’t know!) MTV2 with the even more bad-ass video for their second single, “Charlotte” in 2000, I was hooked. Four kick-ass girls my age absolutely knocking it out of the park with a savage tune, how could I resist? Back then it was actually pretty hard to find out much about anything, even though we had electricity (LOL, Internet was dial-up and I wasn’t really allowed use it), I did my best to find magazine clippings about the girls. Metal Edge was the only place I could find anything about them and even then, I only ever got my hands on like, 2 copies, cos Nowhereness is in the middle of Nowhere, you know?! I got my hands on their debut Spit (produced by Garth “GGGarth” Richardson, 2000) when I went stateside that summer and it didn’t seem too long after that, their 2nd album Oracle (also produced by GGGarth, 2001) was released. That I did buy here in Ireland. The band developed and progressed over the years and while I kept an eye on them, Facebook brought them back into my world in 2010 and that’s when I discovered Siegfried Meier.
So Siegfried worked on their Oracle album back in the day (credited in the album notes as Siegfried “Private Dancer” Meier!) as an assistant in Emac Studios (London, Ontario) and then became their producer for their 5th In the Black (2009) and their 6th, I’ve Failed You (2011), producing the band in his Beach Road Studios . Cue a new style, sound and sonic force of awesomeness for the band. Kittie has been a highly creative and unique metal band from the get-go but the Sig albums are f**king HUUUUGE.
Their 2018 Origins/Evolutions 20th anniversary release, which documented the band’s career, cemented my personal opinion that Siegfried was one seriously cool guy (I could discern from the Internet that he’s a musician, producer, songwriter, audio engineer, mastering engineer, cat lover, and all-round super dude). But the footage on that documentary simply blew my mind and I ached for the chance to visit. Lucky for me, I didn’t have to wait too long!!
Fast forward a few months and I find myself driving an automatic VW Golf (black, shiny and sexy as hell!) on a 5-lane highway in Toronto, on the opposite side of the road. Huge trucks zooming by me and the setting sun in my eyes, my heart races with trepidation, I’M HERE CANADA! Immediately charmed by the picture perfect towns I drive through, hours out of busy Toronto, I just knew, this was a slice of Heaven right here and this was exactly where I needed to be (you know, you do kind of doubt yourself- am I mad to go to Canada for a couple of days?! How will I handle driving in another country? Will my Irish awkwardness ruin the vibe?! Am I still rock n roll enough to handle this?!).
I need not have worried. I may have been shaking in my runners driving down the magical road to the studio, parking the car after confirming I had indeed found the location and not some random persons house (imagine if I did that though LOL!), spotting drums through a window but the very second I opened the door and let myself inside (let’s face it, I still don’t even let myself into my fiances house 14 years on! I have to ring the doorbell and text prior to my arrival- that’s my own awkwardness, not their house rules!), I felt this absolute WAVE of love. Everyone smiled at me (walking into a room of 10 guys is a little bit scary!) and I was enveloped in Siegfried’s welcoming arms instantly. I actually didn’t feel shy!!! From the get-go I felt like I knew Sig forever and that it wasn’t my first time meeting him. It struck me it was a special connection and all my suspicions about him were confirmed- this guy IS the coolest person EVER! Larger than life itself, his warmth, genuineness, humourous wit, easy-going, relaxed, bubbly, passionate and humble personality shone like a white light. Just being around him made me feel an excitement and joy I haven’t felt in years. I probably looked goofy and starry-eyed as I openly gazed at him but that wasn’t for his incredible awe-inspiring career, it was for him as a human being. He’s the kind of person that you only find once or twice in your life and you recognise instantly he’s making the world a better place by just being in it.
Walking into his control room, my breath left me. What a beautiful room! Surrounded with a mix of vintage and modern equipment, yet with a vibe of home, I can see why musicians come to make music here. His welcoming personality is mirrored by his creative space. If I was a musician in a band, I would be extremely excited about making records there!
After a short introduction where everyone (Sig, the students and the rock band, Breaching Vista) got up and said a little something about who they were and confirmed they were indeed cat-lovers also, Sig dived into audio theory and concepts to ensure everyone was on a similar level. Notes were passed around and we were invited to jot down as much as we like. Standing on a footstool behind his amazing rare Amek/TAC Magnum console, Siegfried explained higher level educational audio concepts in a logical and exciting format. Hanging onto every word he said, my mind raced to keep up.
After coffee breaks and lunch, the fun really kicked off. The importance of preproduction was explained and a guide track was loaded into Pro Tools. Track tempo was discussed and experimented with and yes, I even learned a new thing. Sig gave us a golden nugget concerning click track headphone bleed (I admit I actually made that f**k up on my own most recent recording and even kicked myself afterwards for not paying enough attention). Drummer Micheal Sferrazza (also a talented pilot, no less) was invited to take up his sticks and we all ushered into Sig’s, huge live room. I momentarily got starstruck as I recognised the wall of guitars and the placement of the drums, for I had seen this room on Kittie documentaries and photographs before (imagine being starstruck by a room! NERD!). My jaw dropped at the sheer size of the converted barn (Sig built and designed the entire studio in 2006, with the help of his colleague Lee While, acoustics professor from Ontario Institute of Audio Recording Technology), again, huge but welcoming! The room was chock-full of equipment, instruments, consoles, computers, microphones, amps, cables and more. I do believe in that moment that I died and went to Heaven.
There we experimented with a dedicated Pro Tools 6 rig and Sig explained the importance of gain structure, what exact signal flow he was implementing and set up the Glyn Johns drum recording method. A method I’ve read about and listened to all about since the beginning of my audio schooling, but one I’ve never actually witnessed for myself. Well wasn’t my mind blown?! A great kit in a great room played by a great drummer with only 3 (also great) mikes equalled MAGIC. Hell, that was a drum sound I would killed to have gotten in my production projects in college.
After that the room was set up for the actual recording of the single for Breaching Vista. 20+ mikes were set up- close mikes, room mikes and even bulls***t mikes. Each mike was explained in fine detail and I got to meet many of which I had only read about in my studies and some of course, I had never even heard of before. Jet-lagged like never before, I think I was probably swaying standing up, I wondered was anyone noticing I was ready to start sleep walking! But that wasn’t going to last for long because before I knew it, we were back in the control room, listening to the sounds of the drums and setting up appropriate levels. Snapped awake by the exciting sounds, my heart raced as Sig explained what he was going to do next: track the drums in the digital domain AND on analogue 2 inch tape! WOW! Tape!! I remember I was asked in an interview in Derry in 2014 which I preferred, analogue or digital? and I fobbed off a bulls**t answer. How could I answer such a question when I had basically zero experience of analogue? I think I said I liked the idea of analogue but really all I knew was digital and therefore I liked the good things it had to offer. Maybe that wasn’t a bulls**t answer afterall, but I always thought about it afterwards, feeling like a twat that I couldn’t actually REALLY give an opinion about that subject. Sig gave us a highly detailed history and informative block of information which detailed tape anomalies, machine care, and so much more. Brand new stuff for me. Please let my brain absorb all of this!!!
A very small (surprisingly small- there have been sessions where I pushed 12 takes out of my drummer, the poor unfortunate soul) number of takes later, along with the band for guides, the drums were recorded. It was already getting close to midnight and Sig bounced the analogue drums back into Pro Tools, using the Studer tape machine as an audio processor to get a very different sonic character. There we ajorned for the night, for tomorrow there would be more- drum editing, bass recording, guitar recording, vocal recording, editing, mixing and mastering. I left Sigs close to 1am and drove back to his local town, my mind racing and my heart bursting. I fell into my bed thinking I’d probably never sleep but boom, I was out like a light.
Feeling surprisingly refreshed, the next morning there was a beautiful spread in my B&B. The sun was shining and with a spring in my step, I drove to Beach Road, feeling confident about driving on the correct side of the road and feeling like a local because I knew the roads already. I practically skipped in the studio door, proclaiming I was not jet-lagged and took my seat behind Sig’s racks. He kicked off swiftly, explaining he was up since crazy AM, editing last nights drums and showed us swiftly exactly what he did and how he did it. We A/B-ed the Pro Tools, digital drums with the tape, analogue drums, understanding the sonic differences between the two and the benefits/downfalls of both.
With the drums edited, it was time to get really serious. Bass guitar (Mike Chhangur) was up and there, Sig explained that he was not going to use just one mike on his bass amp (hang on, you can use more than one?) but four AND run more sources (okay this bit went a little bit over my head, studio routing is not an easy thing to get initially) but there, the audio concepts discussed yesterday came back into play and yes, it made sense. The importance of using the same tuner for the entire band (the very same tuner, not the same brand, but the same actualdevice) was explained and boom, we were away! Again, a few takes later, we had a phenomenal bass track recorded and edited.
Next up were guitars, rhythm (John Maksym) and lead (Al Malnar), I’m not going to go into any sort of detail but it was more mind blowing stuffs! Definitely the kind of stuffs this guitar girl loved. Again, epic players using using gear in an epic room, produced by epic ears. More editing tricks, beautiful recording methods and tactics, next up it was vocals. Vox were a sheer delight to watch. Using a mike I actually own myself but never ever use, I was enthralled. Sig’s vocal chain was delicious. I’ve never been so gear hungry in my life! After editing and comping and a host of processing, I was delighted to be affirmed that what I do myself is actually correct and I learned a few little extra things too.
Shortly after that, dinner was up and can I say right here, that Sig’s wife Rachel is the most talented cook I’ve ever met, as well as a fantastic studio momma and all round lovely, lovely person?! Her food was out of this world and she looked after all of us like her own. Her presence added more love, light and sparkle to an already sparkly, beautiful, heavenly place. I didn’t realise so much joy was possible in one space and I was sent to pick up my fiance who was invited for the party. Brotherly “I know you!”s were exchanged as I watched the love of my life meet the inspiration of my life, and Sig swept him up into his world, a world he knows just enough about to be floored by what he saw. That’s when I saw Sig has a huge salt lamp upstairs near his mastering suite, of course! Good energy huh!!! After all of that, the class resumed and the final touches of the workshop were completed, mixing and mastering to quarter inch analogue tape- SHREDDER!
We partied until an absolutely crazy hour, how Sig wasn’t totally crashing out (for he was up at the crack of dawn to edit drums, remember?) I’ll never know. Maybe it was the amazing maple syrup we ate raw from a dessert spoon?! Or the giant bag of those peanut butter M&Ms John brought and we all devoured?! The sheer joy of 14 like-minded people in the same room, simply enjoying each others company, exchanging thoughts, ideas, stories and culture, I suspect is what kept us all on Cloud 9.
My experience at Beach Road studios was simply second to none. I left Ireland thinking I might learn a little thing or two but instead I learned a brick tonne, felt joy and love like never before, got swept off my feet and felt a whole-ness I never felt before. I’ve definitely left a piece of my heart in Canada for I can never bear to say goodbye. Poor Sig had to get Rachel to pull me off his leg as I wept “Don’t make me go home!” I’m kidding of course but inside I was dying.
What an honour it was that I was allowed into Sig’s very special creative space, into the amazing building he built on a foundation of pure love and light. No wonder Beach Road has housed amazing musicians from so many genres, it’s the kind of place you gravitate towards and it wraps you up in a big cuddly blanket of passion for music. How lucky I am to have walked around those famous rooms and to have studied under the most passionate, intelligent, talented, skilled, witty, loveable and humble human I’ve ever met in my life. I’m so very grateful. Siegfried Meier is the producer I aspire to become one day. I can see why he makes brilliant records. Brilliant artists, brilliant gear, brilliant rooms, brilliant ears, brilliant skills, brilliant home. I haven’t even remotely touched on his history as a music producer- I urge you to visit his website Siegfried Meier and to pop his name into a Google search, you’ll be blown away by what you read and understand why I literally jumped onto a plane to visit a country I’ve never been to before, a journey of 5366kms each way. I’d do it again in a heartbeat and I hope I see my friends Sig and Rach and the rest of the class group again in the near future.
I believe if everyone met Siegfried Meier, even for just 5 minutes, the world would be a much better place.
For the creators and for the fans, active listeners or passive listeners, music has the power to move us all incredibly deeply. Sometimes we’re right here- in the moment and sometimes we’re floating in a sea of sounds- we blissfully lose ourselves for a tiny while.
And sometimes we’re both- Here and There.
The latest release My Names A, Your Names Zed from El Grey is exactly that.
If you’re already a fan of El Grey you’ll come to expect haunting, stunning and breathtaking vocal performances as standard. You’ll also expect crunchy beats mixed with a wash of synths and gentle acoustic guitars. You’ll also be aware that her music is deeply personal to her and each song is a little piece of her soul, committed to record.
Take all that you already know about El Grey and put a little twist on it. You won’t find this track anything like her previous release El Grey, but you will find her distinctive, trademark vocals affirming her ardent passion right here. Glistening synthy motifs bounce over and back a sound world of luscious piano playing and looped, reverberant vocals. Instantly you’re taken by the hand of El Grey herself into the infinite cosmos. If you haven’t gotten goosebumps multiple times within the first 60 seconds then you’re not ready for the journey she wishes to bring you on.
Hypnotic yet deeply grounding, her chanting vocal pulls you right into the centre. Looped over and over with additional harmonies, her voice guides the way- “Grab a coat, find a home”. While the chant gives way to a choir of swirly, angelic vocal expressions, we’re lifted further into the heavens, soaring high, looking for Home.
The mood changes somewhat after this point. You’ll hear a male voice enter- another new sound for El Grey. You’ll know that there’s something very special going on here- something very deep and very personal. In absolute contrast to what we’ve been listening to, she sings in her native tongue- and it works brilliantly. Switching languages in one song is a new and brave move for El Grey for she has something personal to say-revealing another dimension of herself and affirming her spirituality though her music.
For me the most poignant lyric comes in around the 7-minute mark- “It’s just one heartbeat away from you” with echoes of “one” bouncing around, underpinning it. The music producer in me loves that line. The sentiment in me loves it too. It’s a line I’d hang on to for dear life.
This recording is 100% live and one take only. There was no pre-production. There was no doctoring this up in post-production either. The barest moments of extraneous sounds pop in and out here and there but these are not faults. Such sounds tickle my imagination and for me, they add to the soundscape. The piece in its entirety has a completely natural feel and I’m certain the musicians lost themselves in this performances-lost themselves to find a little something on the way back.
You could use a multitude of words to describe this track (atmospheric, holy, meditative, serene, gripping, stunning, special…) and you could find a multitude of situations to enjoy it in – at home with a candle, on a long, night-drive home, walking around a busy city- for it’s completely immersive and completely El Grey.
Posting and sharing with you, my most recent music production project, the beautiful Leaca Bán by 5-piece, traditional Irish crossover group, Na Tonnta.
Introducing Na Tonnta (L-R as above): Daniel ‘Hearthrob’ Whelan, Ellie ‘Ellington’ J McGinley, Sinéad ‘Brings her own teabags’ O’Malley, Ciara ‘I♥ Beoga’ Moley and Fiachra ‘Figgy’ Meek. The group met while studying Music in DkIT together and bonded through their love of traditional Irish music, popular music, tea, biscuits and cakes!
My journey with Na Tonnta began in September 2014. I was searching for a musically-new band to introduce to the recording studio and collaborate with for my final music production project at DkIT, resulting in three songs- one being the core and most-polished production.
I knew I wanted to carry forward my love for traditional Irish music while bringing it into a contemporary production and I also knew Na Tonnta were a hard-working, creative and driven group from my Facebook stalking since they formed in October 2013!
Leaca Bán began in the rehearsal room. Sinéad introduced the idea to the group with the beautiful, haunting traditional tune, 250 ToVigo, accompanied by accordion player, Ciara. I sat, mesmerised by the performance- the beautiful tone of the B flat whistle, the rhythm of the tune, the sombre accordion, gently accompanying the haunting tune. The hairs on my arms stood and I knew instantly that this was a tune I wanted to be a part of. I could already hear our studio recording in my mind’s ear!
What happened next lifted my spirits even further. There was a lyrical idea. In fact, there was more than just an idea- there was a theme, a mood, an atmosphere and a poem! A vintage book was produced- a little blue book with yellow pages, about to be tossed out from a local school library where Sinéad worked. For some reason unknown to me, Sinéad opened the book and there was a beautiful poem at the beginning. The Lights of Leaca Bán by Alice Cashel is an old book intended for secondary school children but the poem simply titled Leaca Bán, found at the begnning of the book, is a literary work of beauty. It was suggested that Ellie fit the tune to the words- amazingly, it worked like a dream. Ellie suddenly started singing the poem and it was just right.
By Christmas a humble demo which consisted of a vocal, fiddle, tin whistle and accordion was recorded and then my audio fun began. What I already had was a beautiful tune which was deeply Irish and could hold up on its own with such a small ensemble- how about adding drums? Synthesisers? Guitars? More vocals? How big could we go?! How big did I dare?!
Well, here’s the final production. Listen for yourself.
Some vocal edits, some tweaks, some mix balances, I don’t think I should call it a remix but a small re-work of my original song “Close Your Eyes” which features Fiona McErlane and Keith Caffrey on vocals.
I personally prefer this version. I intended on making the female vocals and drums clearer. I especially hope the listener is drawn to the delicate subtleties of Fiona’s voice.
This is the second last blog about this semesters music production project!
Tomorrow is our last 3 hour session! We’re on schedule with the plan and tomorrow will be main vocal, backing vocal and rainmaker recordings!
I will also be recording some additional instrumentation (bongo and violin) in the ambient Winter Garden after the studio session. I definitely will not have time to record all this tomorrow morning, but I would really like to commit these extra ideas I have to Pro Tools in case I decide I want them during my final mix! I’ll be bringing my Macbook Pro, Roland Cakewalk UA-25 EX audio interface, Rode NTK mic and AKG headphones to the Winter Garden (some name dropping there… hint hint! lol) for these recordings!
Seems like I can never go to college anymore without a ridiculous amount of stuff with me!
After a lovely reading week which turned out to be a brilliant balance of study, work, play AND industry experience (see recent post where I described my day recording location audio on a film set!), I’m all set and raring to start back to college (part 2 of semester 1) in the morning!
I’ve spent the last 6 weeks preparing for my music production project and tomorrow morning we go into the recording studio to start tracking! It’s an early start and I hope to record cajon, a guide vocal and acoustic guitars. I’ve chosen to realise a new Shock Sorrow song called “December”, myself and Keith Caffrey composed during the summer.
I’m very excited to have my classmate and good friend Shane Taaffe play cajon and new friend, bass master Ciarán O’Brien play double bass on this recording! I’ve never recorded both instruments before and I’m very excited! Keith Caffrey will of course be singing lead vocal, playing guitar parts (yes, a solo!) and a secret percussion instrument! 😉 I will of course be playing a small bit of guitar and maybe piano if I’m lucky, my regular studio partner Shauna Kearney will be assisting me (I can’t imagine being in studio without her actually!).
My mind is racing from the sheer excitement of this project and I’m getting ideas all over the place! “Oooh wouldn’t it sound great if I did this!” and “I’d love to slip in a little harmony there!”, it’s so easy to get carried away! The main point of this recording is to capture the sounds as accurately as possible, get the sounds right at the source! “I’ll fix it in the mix” attitude is bye-bye, out the window! There are of course plenty of other criteria to check, good production, instrumentation, record with hardware compression (mmmm Avalon baby) etc!
My primary aim is to record a polished studio version of this song that includes a full band of musicians but with a stripped back approach.
I aim to not only meet the instrumental requirements of this project brief but also extend beyond that by capturing one or two additional instruments and vocals, creating a sonically interesting and more varied recording.
I also aim to create a pleasant and relaxed working environment and enjoy a successful recording process.
I will post a blog tomorrow night about how the session went!
In other news I got to play an Irish harp tonight! I had such fun! Shane Taaffe is one seriously gifted musician, I already knew he is very talented with a guitar, cajon, voice, anything musical he puts his hands to, but I never got to hear him play Irish harp before now. Wow! I could have listened to him all night! Such beautiful music he played. I’m a big Irish trad fan from my fiddle days and lately my influences have been creeping back into my solo material. He played beautiful Turlough O’Carolan tunes, airs, reels and even treated me to “Nothing Else Matters” (Metallica), I pretty much just melted into the floor by then!
So! Expect a future recording featuring Shane Taaffe on the harp! I would dearly love to compose a traditional piece myself and record it. This will happen!
Off to pack my school bag and equipment bag for tomorrow, where’s that list I penned up? 🙂
I have been feeling creative lately! I’m announcing the follow up track to “Ashes Forever” which I posted online a couple of weeks ago… “The Key”. 🙂
Composition for this piece started about two weeks ago in my bedroom studio. I wished to complete it before my trip to Oxford so I could mix it over there, but feeling this song was coming from somewhere very deep inside me, I didn’t want to rush the creative process.
I had composed all the music by the time I got to Oxford and there I mixed what I had and structured half the song.
I returned home to Ireland in a whirlwind of emotions and penned the lyrics and vocal melodies shortly afterwards. This song is a deep one to me and I hope the listener enjoys my creation.
It’s the first time I’m publicly showcasing my violin skills on a recording and also my lovely B flat tin whistle, I was really surprised how nice it recorded, adding just a touch of reverb! It’s probably also the first song I’m actually not playing guitar! Written, composed, recorded, produced, mixed and mastered entirely by myself with the exception of giving my friend Lee Fitzpatrick some deserved credit for advising me on my equalisation curves at the early stage of mixing!
So put on your headphones, sit back, relax and breathe and enjoy “The Key” 🙂