This year has been quite a busy one for me, with three albums released to which I’ve contributed. Space Elevator II, and Blake Shake’s Funk Biscuit are out now and Toneheadz’s Taboo Guitar coming very soon.
Playing live has always been my passion though, and I’ve just realised I’m now the regular bassist in 15 different bands (and dep with a number of other bands) which means accurate diary management is VERY important! – I’ve always been in a lot of bands but this is the first time I can remember ever getting to 15…
A couple of them let me do lead vocals too, so I’m discovering how much I enjoy singing; I’ve always done backing vocals but lead is a different kettle of fish – hopefully I’m doing OK!
Just a quick one – the second Space Elevator album is being released on SPV/Steamhammer on 25th May 2018. Chuffed to bits with how it sounds and looks, and really looking forward to touring the album in the next couple of months! It’s taken a little longer than we’d hoped, but there have been a lot of developments which will be good for the band in the long run, so we think it’s been worth the wait…
More recording, this time with the Blake Shake funk outfit. Bandleader Nick was showing me the finished mix of the album and it does sound very cool indeed – looking forward to this one being released early this year!
We were fortunate to have a couple of guests on the album, although I don’t know if I can say anything yet!
We’ve been and gone and done another album!
Space Elevator II has been finished, and we’re in the process of getting the physical copies made… very exciting! It’ll be available on CD, vinyl and as digital download via the ol’ iTunes, hopefully very soon…
The recording process was a couple of days in April last year at Kore Studios in west London, where we recorded the drums and bass along with guide guitar and vocals, then the rest of the recording was a mixture of several different locations over the summer in a couple of private studios we know – vocals were done in Welwyn Garden City and the guitars in Marlow.
It was the first recording I’d done with my new bass platform monitor and loved the feel of a big bass sound but with the control of very little in the way of “noise”, useful both when in the room with the drums and when doing a couple of overdubs later in a different studio. As I was taking a DI out of the back of my amp and my settings are very easy to recreate it means my bass sounds identical wherever the recording was done.
The recording, mixing and mastering is all completed now, and we’re just waiting for the go-ahead to announce the release date – keep an eye on the Space Elevator website for more news as soon as we know!
As part and parcel of being a musician these days, you seem to need to do so much more than just play music. You need to understand marketing, social media, website maintenance and management, and (certainly if you use a DAW – home studio recording system) you need to be your own IT support team. This post is about the trouble I had connecting my MacBook Pro to a Dell Ultrasharp U2412M Monitor.
I recently retired my ageing iMac and replaced it with a shiny new MacBook Pro (MBP). It was the best computer I could afford (and I’m not really sure I could afford it – no doubt my accountant will tell me later) and it should last me for many years to come.
Much as I loved my iMac, it had become slow and I think the constant updating and improving of the software I wanted to run on it had managed to stretch it past its original design specifications. The MBP is much more powerful, faster, with much more “disk” space (it’s actually got a solid state drive, but let’s not get caught up in that) so I was very happy with the purchase.
One thing it had a lot less of was screen. My iMac had a 20″ screen while the MBP has only a 15″ screen. This meant I needed an external monitor to give me enough room to work. A “Retina” screen (something about twice as many pixels – basically very high quality display) on the MBP means that only certain monitors would work with it. This is frustrating and not least because the Apple external monitor costs hundreds more pounds than I have left…
So I did some research and found a good recommended external monitor is the Dell Ultrasharp U2412M It’s about £180 and various MacBook Pro users had recommended it online, despite it not officially supporting Apple computers. So I found one on eBay (the seller included the cable they had used to connect it to their MBP, so I thought I had everything I needed.)
The monitor turns up a few days after I bought it and I plug it in using the supplied lead (Thunderbolt to DisplayPort) and off I go. Doesn’t look quite as crisp as I’d hoped, but it works. After a few hours of using the monitor I realised that the screen was occasionally going black for about 2 seconds, then coming back on. I carried on with what I was doing and made a note to look it up.
The very next job I had to do required me to use the PC which the Missing Persians were recording on, and that doesn’t have a monitor – so I used the Dell screen and it worked perfectly (using a VGA cable) so I started to think it was my Mac at fault.
Next time I went to use the Mac the screen had also started showing horizontal dotted lines – sometimes these would be about a pixel deep and dart across the screen (left to right) and sometimes they’d be a band of dots reminding me a little of when the tracking needed adjustment on your VHS video. Searching for all those symptoms brought back a load of results suggesting faulty video cards, motherboards, whole heaps of expensive stuff. This wasn’t looking good.
I contacted Apple support – after a series of tests on my Mac (no problems found) they recommended I spoke to Dell.
I contacted Dell support – they suggested a series of tests on my monitor (no problems found) then recommended I spoke to Apple.
I tried several different cables and adapters to go from HDMI > VGA (laptop screen goes blank, then Dell monitor says “No Signal – Entering Power Save Mode”)
I’d also tried several different monitors I had lying around (is there anyone who doesn’t end up with a load of useless computer junk in the house?)
Eventually I stumbled across the answer – a Macbook user had found that the cable he was using was faulty and another suggested that when he used a genuine Apple one he found it worked. I couldn’t get a “Genuine” Apple cable but on the Apple website I bought an HDMI > DVI-D lead made by Belkin – it was a bit of a guess, there were two different types of cable I could have tried and I just picked one.
Fortunately for me, the monitor now works very well!
It’s a shame that the Mac is too fussy to work with any old monitor (like most PCs I’ve used will) but maybe that’s progress. I haven’t bought a high-end PC for a while so I can’t comment on what problems exist there. It’s also a shame that the Apple recommended monitor costs about as much as a second hand car. But I know Apple products have always been expensive. I also know that iPods and the like are really funny about what cables they will charge from or devices they will connect to via third party USB leads. I offer no comment on why this might be.
I’m just hoping this post can be useful if anyone else is in a similar situation!
I started writing this post when we’d booked some time together to begin recording the Missing Persians second album – I then saved the draft.
I’m typing the text you’re reading now when we’re about halfway through the recording process. We’re doing it slightly differently this time, but still recording it ourselves and still using Reaper (I’m actually a Cubase man, but Reaper was chosen as a lower cost option which would allow us to take a PC to our own houses to record individual parts without me having to give up my main computer, or getting everyone in the band to invest in Cubase!) Reaper has some idiosyncrasies which I’m not sure I like, but all in all it works quite well.
Learning from our previous experience…
Last time we recorded pretty much everything live except for guitar solos and vocals – but as we didn’t have enough inputs on our sound interface we mixed drums down to a stereo track before going into the computer. This worked OK for most songs, but one or two were discarded due to problems with the drum mix which we obviously couldn’t do anything about afterwards. We also had a certain amount of bass and guitar spill on the drum tracks which wasn’t ideal. When I came to mix we had to lose a number of good recordings due to missing a crucial problem with drum sounds or a balance issue, so this time I wanted to do it slightly differently.
We still wanted to keep it as live as possible to capture the feel of the band, but we also wanted the flexibility to fix errors and change our minds about things after the event. So we compromised a little – this time we managed to get all the drum tracks on separate channels (to help with mixing) and we only recorded bass and drums together, with guide guitar and vocals captured on lower quality line in channels (just so we had some sort of context for overdubs.)
We used the sofa as a sound barrier to avoid hearing bass guitar on the drum tracks. Bass was DI’d out of the back of the amp, so no spill the other way round. The output from John’s effects was plugged directly into a Line input and we only used it for a guide. We’ll capture the sound of John’s amp when he overdubs later.
Recording the acoustic guitar separately also gave Chris chance to recover from his broken wrist – sustained on the last day of his holiday shortly before we started recording the album (you can see him manfully struggling on despite being hampered by the cast in the photo below!)
The glass door in Nick’s house was perfect to allow us to keep eye contact but keep separation so no acoustic guitar (that loudest of instruments!) spilled onto the drum tracks…
This process is working well so far – we recorded bass and drums at our drummer Nick’s house, and then Chris has taken the PC and is recording his vocals, acoustic guitar and mandolin at his own pace (now that the cast is off he is finding this much easier!) Electric guitar and vocals are being added in the coming weeks.
Based on what we’ve recorded so far it’s coming along well. We recorded 19 songs in total and will choose the best dozen or so to create the finished product. It will be available via our website the Missing Persians Bandcamp page (copies of our first album can also be purchased here)
This is really new (we’ve only had the name “We Are Puppets” for a couple of weeks) while also being quite old. It takes over where Beelzebozo left off, seeing as it’s three of the ‘Bozos recording a similar noise but utilizing more technology. Writing in the studio at the moment – once we have a set together we’ll learn how to recreate it live(!)
It’s a very different way of writing for us, as previously we’ve jammed in the rehearsal room and songs have formed organically and (usually) quite quickly, while Mike (our previous singer) used to improvise lyrics and melody over the top. This sometimes meant we’d be gigging songs before he’d have a chance to actually write any lyrics, but who listens to them anyway, eh?
Now, all three of us are recording ideas in Cubase, then bringing them together to work on collectively. It’s got a sound familiar to anyone who heard Beelzebozo (both of our audience should certainly recognise the vibe) but with some new elements which we find quite exciting. Hoping to start gigging soon…
It seems to be the season for recording projects! The Toneheadz jazz fusion band are also about to start recording – rehearsals are tricky as we all live a fair distance from each other and are all quite busy, but we are planning a recording session in the near future. We’ve done some recordings of rehearsals and we’re enjoying how it’s all sounding so far, we’re just trying to book rehearsal and studio time that fits in with our schedules – always a tricky prospect even when there’s only three of you to think about!
We plan to get about 4 or 5 songs down to show a bit of variety in what we do, the idea being to get something quickly so we can start getting some gigs. We’ll be playing a mixture of covers and original material and are just starting to write more songs as a band.
The band are the rhythm section of Lost in Music – one of the function bands I regularly work with, and we’ve found we work well together which is how the idea of becoming a band of our own right came about. It’s going to be fun to write and record with this band!
After about a year of rehearsing and gigging, The Missing Persians decided to record their first album. It was released (or as our singer/songwriter Chris likes to say “escaped”) on Saturday 19th July 2014 at our Thamesfest performance – you can also hear and/or buy it from The Missing Persians Bandcamp page, either as a digital download or a physical CD.
We’ve all paid good money for recording time at studios, but there is something about the clock ticking away which can change the mood of a performance. Some people cope with the pressure better than others, but it only takes a technical problem with an instrument and you can lose a whole morning. That time has to either be paid for, or you are going to have to compromise on how much time you have to mix.
As we all had some previous experience with home recording, we recorded and produced it entirely ourselves (with a couple of exceptions in the last stages). I’m pretty pleased how it turned out, so I thought I’d note down some of the things we learned:
You can record your band yourselves in your home studio
Admittedly, we did have a rather motley selection of microphones that we’d all gathered over the past 20+ years of being in bands, but most of these were good ol’ Shure SM58s. Not hugely expensive, but robust and decent quality. Vocal mics were Seinheiser. We set up (two guitars and one bass) in our friend JJ’s living room, with the drums set up in an adjoining room. The drum room was padded a little with duvet/sleeping bags to reduce some of the echo of the room, and I set up in the doorway so Nick and I could have eye contact while we were recording. We also had a set of drum mics which cost about £200. One contraversial thing we did was use a small mixing desk to mix the drums down to a stereo pair. This was done because we only had 8 inputs in our sound card, and we did live to regret this choice as we were unable to use a few takes because the drum mix had changed at some point without us noticing. The whole lot went into a reasonable spec desktop PC running Reaper – I’m more of a Cubase fan myself, but Reaper didn’t take long to learn how to use and was a cheap, useable solution (we did it this way as a) we couldn’t fit in my small studio at home and b) I didn’t want to move my studio 25 miles up the road while we recorded the album).
Choose the best overall performance rather than the fewest mistakes
We wanted to have a “live” sound, so we recorded the songs pretty much live (without vocals), then did a few overdubs for vocals, guitar solos and fixes. Often there was a really good sounding take (but with a number of mistakes) versus a slightly less exciting take which was note perfect. I’m sure it’s always better to choose the one that sounds liveliest and try to fix it, rather than choosing one that’s “technically” correct but doesn’t have the feel. Listen carefully to some Beatles or early Bowie on some really good headphones and you can hear things which were clearly mistakes, but recording again might have never got the same feel as the version that made the album.
Take a long time over the mixing process
I don’t mean take months over it, but if you’ve not done much of this before you need to accept that to get the sound right you are going to have to do a lot of experimentation. Listen to the song and keep gently refining it. Remember everything you hear affects everything else you hear (we kept using the phrase the “three stooges affect” where it sounded like everything is trying to get out of the same frequency range in the speaker). We all took turns at rough mixes and some of the first attempts were quite surprising (not always in a good way!) We explored how to control levels of instruments with a little compression (to make the louds not SO LOUD) and then use EQ, volume and panning to find space in the speakers for everything to sit. In the end, it worked out best for one of us (somehow the job fell to me) to sit in a room and work on the mixes, then share (Dropbox) works in progress for comment (digital recording means you can keep multiple mixes – just remember to name them sensibly so you can tell which is which!) We then got together at mine for final tweaks just before we finished the mixes.
Once you think you’ve got the mix right, listen to it on as many devices as you can.
Just stands to reason; you don’t know what people are going to listen to it on (earbuds, audiophile equipment, massive PA, laptop speakers) and you should try to make it sound as good as it can on all of these. You’ll be surprised how the bass can overpower some systems and be completely missing from others.
Pay someone else to master it
Just because you know how to play an instrument, and know how you want your songs to sound, it’s tempting to look for some digital software with a “Make it sound awesome” button on it. I don’t think that’s going to happen; just spend a few hundred quid on getting someone trusted to have a listen with their ears. You may be amazed at what they pick out that you hadn’t noticed, and it will sound all the better for it. We used Tim Turan in Oxford and I think he was worth every penny.
It will cost more than you think
Even doing most of the job ourselves, it did cost us quite a lot of money (£2000+) to produce 500 CDs (PC, audio card, microphones, mastering, duplication) but recording at a studio would have meant we couldn’t have done it over the course of several weeks, couldn’t have decided after listening back to rough mixes that a particular song didn’t have the feel and let’s do it again, and couldn’t have experimented quite so much with sounds and overdubs. We were also able to stay relaxed through the whole process, and I think that was one of the most important factors in making music we are proud of.
Over the last few weeks we’ve been recording songs which we hope will become our first album.
JJ (our friendly PA man) has proved himself to be one of the most generous men in the world by letting us set up base in his house to record. This has meant drums in the spare bedroom, guitars and bass amps in the hallway, and the control room in the lounge.
So far we’ve recorded about 20 tracks and have been doing the overdubs and fixes by each of us taking the PC home to repair the little niggles. We don’t want to make it too perfect and keep the live sound of the band (which was the whole reason for recording as much as possible “live”) but just doing a bit of polishing. There’s nothing worse than getting to the finished product and finding you can’t listen to a particular track because there’s some glaring error in your playing (even if no one else can hear it!)
The trouble with Digital
The computer’s just arrived at my house and I’m going to make my first pass at mixing the tracks to see what we’ve ended up with – unfortunately something about the journey between the drummer’s house and mine didn’t appear to agree with the PC as it wouldn’t boot up without some panic and fiddling about (guess how many backups we had of the songs…?) When I tried to start the PC the Windows logo appeared, with the words “Starting Windows” displayed reassuringly below, then the black screen and mouse pointer, then… no, nothing else happened. I could move the mouse pointer around the black screen but nothing else happened.
After a bit of a search online it appeared that black screen errors are a bit difficult to diagnose – so I restarted the PC again and before the Windows logo appeared I waded in with a bit of F12 action, looking for Safe Mode, but found the Windows Repair option. It said it could try using a recent restore point to try to get the system up and running again. Why not? I thought. Nothing to lose (except for the weeks of work and the friendship of my bandmates)
Fortunately, the PC let me log in after going through this process (even though it got to the end and reported that the repair was unsuccessful) so my first job before making any further changes is backing up! This it proving to be quite time consuming which is at least partially due to my studio being Mac based and the Persians’ studio being on a PC (and not even on the network to share drives).
As the process is copy a handful of songs from the PC to a 16GB memory stick, then copy from the memory stick to my Mac’s external drive, I’m guessing I should be ready to mix by the end of June…