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Stories behind tracking Butch Walker’s “Letters”- Joan

Joan-

Joan was tracked in one take at Butch Walker’s Ruby Red Room in Atlanta. We used a stereo mic setup on the piano, I think it was 2 414s but I’m not 100% sure as it was a while ago. The vocal was a u47 I believe, and yes there was vocal bleed in the piano mics and vice versa. That was part of the beauty of it all.

At the end of the day of band tracking I talked to Butch about doing one of the stripped down tunes. He was completely game and chilled out for a while and got the headspace for that tune while we did the setup for tracking.

About 20 minutes later, Butch came in, we double checked levels very quickly and he performed Joan. One take, no punches tuning or edits. You can hear plenty of mildly out of tune notes if that’s what you’re listening for. I was floored as was Russ-t Cobb who was running Pro-Tools. It’s beautiful when music happens this way, just pure and performed.
I think we tried to find reasons to do it again, but decided against it.

A couple days later, from a recommendation from Ed Roland (Collective Soul) A young violinist named Bobby Yang came by to sort of “Audition” to play on the record. Butch and I were a bit high on our horses and expecting the worst from Bobby Yang.

Bobby shows up and pulls his violin out. I don’t know if Butch or I said “Show us what you got kid”….but it was something like that. He played us Van Halen’s “Eruption” and we were a bit floored. Now what to do with this genius.

We played him Joan and told him we were thinking of a string quartet kind of vibe. Bobby was like “Sure”…..He listened a few times, and wrote some notation and we started building the quartet. Realize, there is no click and the tempo is very freeform.

I think it took Bobby about an hour to track the whole thing. Completely amazing that we had done this beautiful track in such a short time and ease. We used Bobby on a few other tracks on the album that I will Blog later.

Recording Methods – Recording A Song A Day

Recording a Song a day

As a Music Producer, one of the most frequently asked questions I get is “Hey Jim, How do you like to schedule your Recording sessions?”

Well, if everyone in the band and/or all the session players can be there, I like to go with Recording A Song A Day.

My reasoning behing recording one song per day is that we can setup and perform with only the one song in mind. The sounds we produce and perform will be solely for the one song. This keeps everyones creative visions and ideas focused on the one sone and only the one song, from start to finish.

I’ve certainly Done drums for the album first, then bass on day 2, guitars days, 3-4 , etc. This method is very common and works as well, especially if there are scheduling confilcts within the band or with session players. In my experience, this still takes about the same amount of time as a song a day.

One of the other upsides to a song a day is not having to sing and record vocals on 10 songs at the end of the project. This can be stressful for the best of vocalists.

If You can schedule recording a song a day, I strongly suggest this method. Give it a try. Jim

 
 

Recording A Song A Day

Tales From The Vault #2

Music Producer Stories from Jim Ebert

Back in the 90s, I produced a song called “Hooch” by the band Everything. I was living in Los Angeles at the time and myself and the band were trying figure out where to record the album. The budget was ok but by no means a 90’s label budget. At the time, the band lived on a farm property which had an old, brick ,large mainhouse that was vacant. The house was a couple hundred years old and had a ton of charm. We worked a deal out with the property owner to rent the house for a month to record the album.

Then we went to work, somehow I rented a package from an LA rental company, which included: A studer 827 24 track, 10 API mic pres,2 la2a’s, 2 1176’s, an Elam 251, 2 akg 414’s, A bunch of hooch-by-everythingSennheiser and Shure Studer-a827-24-trackMics, Cabling, Snakes, and other stuff. I brought pro tools and a few instruments, the bands friends bought a console to monitor with and after 2 days of wiring, we had a studio.

As far as tracking, all the rooms in the house sounded different. We would set the drums up in one room and see what song fit that drum sound. So, we recorded drums in several different rooms. The drum loop for Hooch was recorded in the servant’s quarters(200 year old house) with 2 shure 57’s straight to a cassette deck then dropped into pro-tools for arrangement. The background vocals were recorded on the back porch after trying several other options. The only expensive mic we used was the Elam 251 for lead vocals. The rest of the mic’s were mainly 57’s.

All of this was a lot of fun and work and really made possible who rented me everything for 7k and that covered shipping for all the gear as well. This made it possible to expand our timeline from 2 weeks to 5 weeks to record the record.

It takes time to make records, to look at options sonically and musically,emotionally,
This was a magic time in my carreer and my liver will never forget it.

Music Producer Jim Ebert

Tales from the Vault #1

Music Producer Story Files

Ozzy-from-the-vault

So I’m working at A+M studio’s in the 90’s…..I believe I was mixing a Trey Lorenze track in the big SSL room in the back. A famous dark metal band from the 70’s(60’s) is mixing across the hall when the singer (famous for biting bats) waltz’s into my control room and with, a sheet of paper in hand, asks my assistant engineer how to spell “Sorcerer”…. My assistant gives him the info and he struts out. After finding out what he asked , I said “he’s had to have spelled sorcerer fifty times by now”….then we finished our mix…..

Music Producer Jim Ebert