CABIN MUSIC (Jim O'rourke meets early Yes)
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CABIN MUSIC (Jim O'rourke meets early Yes)
Hey all-
I wanted to share a record my close friend and I recently completed, Brundlefly and the Swede, "CABIN MUSIC".
It's a weird record, in the sense that it's an instrumental LP with 2 sides, no song breaks which we started recording in a rented cabin outside Asheville, NC in 2010. We began by tracking the main acoustic guitar tracks (in the neighborhood of John Fahey type stuff, or Gastr del Sol/Jim O'rourke's works) that over the next two years we embellished and fleshed out with all manner of instrumentation (upright bass, electric guitar, bass guitar, drum kits, synths, violins, flutes, bass clarinets and so on). It ended up being a pretty lively record that moves about consistently from sound to sound, but we feel works as a unified whole. Fans of some of the work Tortoise in the 90's, might hear some something familiar in there, and there is some somewhat shameless aping of Close to the Edge era Yes thrown about with reckless abandon!
We are expecting the vinyl to be in (180g limited pressing) this next week, and it's available to pre-order. It was recorded by ourselves, and mastered by Mr. Carl Saff.
As we are not a live band (part of what made the record special to us was the fact that the two of us live on separate coasts, and had not played together in 10 years prior to these sessions), we are hoping to share with as many people as possible as we can't play it live...
So please have a listen, won't you?
www.brundleflyandtheswede.bandcamp.com
I wanted to share a record my close friend and I recently completed, Brundlefly and the Swede, "CABIN MUSIC".
It's a weird record, in the sense that it's an instrumental LP with 2 sides, no song breaks which we started recording in a rented cabin outside Asheville, NC in 2010. We began by tracking the main acoustic guitar tracks (in the neighborhood of John Fahey type stuff, or Gastr del Sol/Jim O'rourke's works) that over the next two years we embellished and fleshed out with all manner of instrumentation (upright bass, electric guitar, bass guitar, drum kits, synths, violins, flutes, bass clarinets and so on). It ended up being a pretty lively record that moves about consistently from sound to sound, but we feel works as a unified whole. Fans of some of the work Tortoise in the 90's, might hear some something familiar in there, and there is some somewhat shameless aping of Close to the Edge era Yes thrown about with reckless abandon!
We are expecting the vinyl to be in (180g limited pressing) this next week, and it's available to pre-order. It was recorded by ourselves, and mastered by Mr. Carl Saff.
As we are not a live band (part of what made the record special to us was the fact that the two of us live on separate coasts, and had not played together in 10 years prior to these sessions), we are hoping to share with as many people as possible as we can't play it live...
So please have a listen, won't you?
www.brundleflyandtheswede.bandcamp.com
- jrsgodfrey
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Excellent everything, loving it, passing it on. You should be really proud of this!
Jeff
Jeff
I record, mix, and master in my Philly-based home studio, the Spacement. https://linktr.ee/ipressrecord
- DrummerMan
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Nice stuff! Too bad I don't do psychedelics anymore.
Would you be interested in talking about your recording techniques at all? I'm particularly curious about the drum and drum mic setups, but I think your overall recording aesthetic does a good job of having vintage "flair" while still being just as comfortable in the modern world.
Would you be interested in talking about your recording techniques at all? I'm particularly curious about the drum and drum mic setups, but I think your overall recording aesthetic does a good job of having vintage "flair" while still being just as comfortable in the modern world.
Sure!
This record was done over the course of 2 years (our sessions started in a cabin, with the acoustic guitars/flute), and I started tracking drums not too long after.
For side a, and the bulk of side b (the start through where they initially end) the main set up (if I recall correctly) was Beyer M160's as overheads, D112 on the kick, most likely either a 57 on snare, or it might have been the Heil pr 20 (cant recall if I had it at the time), Blue kick ball on the floor tom, possibly another 57 on the rack tom...
For the sections of side two (piano/flute section, and the end) I simply used a "recorderman" set up with 2 Earthworks QTC40's. I love that set up, and such a breeze to mix.
Of course, I may have used some other combo's- Peluso CEMC6's on the toms, and I may have also mic'd the kick with a Blue Mouse from a distance and mixed it to taste. Sorry for the vague and hazy recollections.
All pre's were just from my older Mackie Onyx 1640 (not the i series). I did use some minor eq at tracking, along with some compression provided by an ART Pro VLA (older model), and a few RNC's/RNLA's- though I can't recall where, or what settings at this point... nothing dramatic in the settings at tracking.
Whats key, is that this was all recorded in an awful room, my sheetrocked, low ceilinged, no ambience bonus room. While it's treated fine, it was something I always wrestled with, sound wise. I have always enjoyed, thicker, less "roomy" sounds, but that room also conspired to make sure I couldn't have anything else!
For me, a rank amateur who has no access to proper studios, or spaces, the drums have always been a challenge. I'm the drummer here, but it's all for the recordings only, as I am not a performing live drummer (more a guitar/bass player). I spend most time focused on the performance, as my "sound" changes constantly. I maintain that if played correctly, you can work any sound you are getting, even horribly shambolic and "incorrect" set ups. I have always admired drummers like Glenn Kotche, if not just for his incredible technique, but the "sound" he manages on many recordings. That fat, non resonating snare, and very wooden tone. I always aim closer to that with my stuff. Pairing that with the acoustic guitar foundation helps (in my opinion) to keep the feel closer and warmer, rather than emphasizing overly crisp room and cymbal wash/high frequency acoustic "air".
Also, there are no "edits" or corrections... it is what it is!
This record was done over the course of 2 years (our sessions started in a cabin, with the acoustic guitars/flute), and I started tracking drums not too long after.
For side a, and the bulk of side b (the start through where they initially end) the main set up (if I recall correctly) was Beyer M160's as overheads, D112 on the kick, most likely either a 57 on snare, or it might have been the Heil pr 20 (cant recall if I had it at the time), Blue kick ball on the floor tom, possibly another 57 on the rack tom...
For the sections of side two (piano/flute section, and the end) I simply used a "recorderman" set up with 2 Earthworks QTC40's. I love that set up, and such a breeze to mix.
Of course, I may have used some other combo's- Peluso CEMC6's on the toms, and I may have also mic'd the kick with a Blue Mouse from a distance and mixed it to taste. Sorry for the vague and hazy recollections.
All pre's were just from my older Mackie Onyx 1640 (not the i series). I did use some minor eq at tracking, along with some compression provided by an ART Pro VLA (older model), and a few RNC's/RNLA's- though I can't recall where, or what settings at this point... nothing dramatic in the settings at tracking.
Whats key, is that this was all recorded in an awful room, my sheetrocked, low ceilinged, no ambience bonus room. While it's treated fine, it was something I always wrestled with, sound wise. I have always enjoyed, thicker, less "roomy" sounds, but that room also conspired to make sure I couldn't have anything else!
For me, a rank amateur who has no access to proper studios, or spaces, the drums have always been a challenge. I'm the drummer here, but it's all for the recordings only, as I am not a performing live drummer (more a guitar/bass player). I spend most time focused on the performance, as my "sound" changes constantly. I maintain that if played correctly, you can work any sound you are getting, even horribly shambolic and "incorrect" set ups. I have always admired drummers like Glenn Kotche, if not just for his incredible technique, but the "sound" he manages on many recordings. That fat, non resonating snare, and very wooden tone. I always aim closer to that with my stuff. Pairing that with the acoustic guitar foundation helps (in my opinion) to keep the feel closer and warmer, rather than emphasizing overly crisp room and cymbal wash/high frequency acoustic "air".
Also, there are no "edits" or corrections... it is what it is!
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