Creeping up slowly on a production? Non standard beginnings?

[Jules]

This weekend I am working at Neve V studio with a band tracking 3 tunes in 5 days.

I will mix it and edit it back at The Library..

They are very keen to have drums sounds like a few other bands..

They did sample drum / drum machine demos version of the songs that sound pretty damn good.

So..

What I have done is had these demos transferred from Cubase to PT and had click track generated for them (the band programmed lots of intentional but v subtle / minute tempo changes..)

So day one we set up for drums - and have the drummer play to the completed 'guide' tracks - this will help me make the drum sound REALLY fit the tunes - & we can a/b between what we have going on on the board vs the CD's they want to sound like.

Personally I LOVE recording drums to 'full guides' or fully completed music - I really think its fun - as rather than record it flat - I can really push the gear (eq & compression) to try to 'nail' a drumsound..

Hopefully comparing to other pre recorded productions will simply set a stylistic / approximate benchmark for us. To slavishly copy 100% be a little

These tracks must have their OWN character & vibe..

Anyone else have any odd or non standard methods for beginning a production?

[robdarling]

I'm not sure that I ever make a record that didn't start this way. I work a lot with songwriters/performers who are pretty sophisticated in the studio and am often in the position of melding new live tracks to programmed stuff. I'm working on a record right now that is probably three months from being done but four years of growing. Really.

It's a funny process, but it can yield a lot. Making a record more than once, in different settings, with different people, teaches you more about the song each time you go through it. Sometimes you really have to explore a song to get it all the way to where it needs to go, and production can be a great place to do that.

And what's funny is that you often end up with less rather than more. It can sound incredibly dense, but this comes from exploring parts and finding what really fills up the song. For a while you have nine thousand pounds of crap, but then it starts to shake out and the cream rises and you end up with really rich but elegant production.

Now, I know all the diy ethos says no, and that this can be overthinking, bitch, bitch, blah, blah. And for many records this is true. I don't think Back in Black would be served by such a process. But this is not true for all records. Listen to the U2 or Radiohead b-sides and you don't even recognize them. These are songs that have never lived the full life and exploration that the ones finally going to album have. FWIW, sometimes time actually is your friend. Learning to balance when to give time and when to take away the crayons is the art to foster.

[Jules]

Well, we got 3 drum tracks down today - the drummer is AMAZING!

Use API pre's on toms - driven v hard - (lots of red overload lights) and used the Neve V desk to trim levels to PT and add a lick of eq.. with fresh drum heads .. its sounds GREAT!

Coles ribbons on overheads - Chandler TG2 - Alan Smart - Cranesong Hedd - PT

Distressor with Brit mod on room (first time I ever used it! Just had mine modded)

[robdarling]

I love the brit mod. A very good friend. I love putting it on a send and sending a combination of all the rhythm elements to it. Having the direct kick and snare punch holes in the room and bass tracks can give a whole lot of energy to the track.

Sounds like it went well.

best,

r.

[Methlab]

Originally Posted by Jules

Use API pre's on toms - driven v hard - (lots of red overload lights) .. its sounds GREAT!

Oh I can imagine. Toms and driven APIs are a very slutty matchup.