Tracking drums was a long process but we’ve finished. It’s all what you hear really. Some will identify with me when I say I analyze the sounds of songs. It’s habitual when your trying to hone the craft of engineering and production. A bit a of curse too because you find yourself missing the emotive portion of a song. It’s good to stand back and try to enjoy what you hear. When tracking drums you have to live with hiss of analog if your aiming for raw warmth. Some the greatest records have unique nuances that some people overlook. The hiss, cracks and pops are part of the sound’s DNA. Don’t fret over them they want to be included. The perfect mistake always outweighs the pristine polished cut. As I mentioned before we tracked live without a click track. Setting up BPM plug-in we never strayed beyond 4-5 BPM’s. Not noticeable to the musician/engineer let alone the common music listener. Put a BPM plug-in on a old Beatles or Kinks tune you’ll be surprised how many bands played without metronome.
We begin a new stage of tracking. The straight forward bass guitar. Steelesque is fortunate to have such a great player in Jerry Courtney. Jerry also is recording-songwriter with tracking experience so explaining the process to him is not necessary. The main concern, as always when recording bass tracks, is how it sits amongst the kick drum. They have a tendency to steal each others frequencies. Thoughtful EQing does the trick. We will track rhythm guitar and bass together. The simpatico between Courtney and guitarist, Eric Drake, goes way back. They are Weirton’s version of the Glimmer Twins. I’d really like to very experimental with the guitar sounds. We have a wide array of options with great vintage amps and guitars at our disposal. I have had the most success with low wattage amps. Many guitar greats (Jimmy Page-Clapton-Beck) preferred smaller tube amps when tracking. We will be courageous! I’m especially excited to get these rhythm tracks in place. Til next time…
Sealed In Wax,