Tag Archive for: Stranded Recording Studios

Bass Ventura single mastering

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Across the last few month I’ve been doing a bit of Bass and Afro House mastering for the Sydney / Gold Coast artist Bass Ventura.

Bass Ventura aka Sean Brodnik, is an old student of my from SAE Sydney, and therefore that history puts a great spin on the client/ mastering engineer relationship. Across the last four singles his production has gone from strength to strength with the subtle feedback that both mastering and mastering engineers can give re total mix balance and dynamics.

Here are the first two singles from this first batch of 4 masters. Enjoy and follow Bass Ventura at any of the below locations:

Sweetie – Punch The Shark EP released

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Back in Feb 2023 I was the recording engineer for Sweetie and producer Jono Boulet. The 5 tracks recorded over the 3 day session, have now received the Jono Boulet production, and are now available on a cracking new EP titled Punch The Shark. The EP is receiving some great reviews.

Check it all out at the below locations:

 

 

 

Back in the studio w Nic Cassey for his 3rd LP

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I’m excited to say I’m back into the studio with old friend and client Nic Cassey. Across the years we’ve made two LPs together, and are now working on his 3rd record from Stranded Recording Studios in Bellambi on the South Coast of NSW.

Nic is an artist that effortlessly taps into a sound and songwriting style that one could place as a 60s / 70s singer songwriter style. He’s a multi-instrumentalist, first learning drums and then piano and guitar. Vocally, he’s a great poet with a beautiful unique voice. You can check out his back catalog on Spotify.

On the first two tracking days at Stranded, we were joined by Scott Leishman and productively recorded the drums, piano, guitar and bass beds for 9 tracks. The Input List is as below.

Piano – A/B Pair – Rhodes pencil pair – BA JLM preamp
Piano Room – U47 (Chess Tools) – Great River Preamp – Smack Compressor

Acoustic Guitar – Sennheiser 4080 spaced pair – EZ1290 Neve Clone
Acoustic Room – same U47 as Piano

Kick In – D12 – Vintech 573 – Clark 1176
Kick out – Condenser (can’t recall the European brand) – desk pre
Snare Up – SM57 – Vintech 573
Snare down – SM57 – Desk pre
Hat – Beyer M160 – Desk Pre
Rack & Floor Toms – Toshiba Ribbon RB1 – Desk Pre
OH L & R – Coles 4038 pair – Telefunken V675
Crotch Mic – Sennheiser MD441 – Neve clone pre – Smack Compressor

Our third day at Stranded focused on vocals, and after a huge day, we had all vocals recorded and comp’d for the record. The studio had just invested in a few more mics and compressors so we had the fortune of recording in 4 fine mic flavours to give options during the mixing phase; the Input List is as below:

Vox 1 – Neumann U87 – Vintech V573 – Warm WA2A
Vox 2 – Neumann TLM 107 – Vintech V573 – Chandler EMI TG1
Vox 3 – Shure SM57 – EZ1290 (Neve Clone) – dbx 165A
Vox 4 – Chesspiece (?) U47 Clone – EZ1290 – Chandler EMI TG1

 

Recording Sweetie with producer Jono Boulet

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Early Feb 2023 I had a three day session at Stranded Recording Studio, recording a new EP for the band Sweetie, and the producer Jono Boulet.

Sweetie are a solid 4 piece rock band, so the mic tactics were somewhat standard, but the presence of the producer, Jono Boulet, always gives the recording engineer a bit more time and leeway to focus on the sounds.

The mic input list can be seen below from the studio pics. Stand out combinations of mic, preamp and compression that come to mind are as follows.

Firstly, the inputs at Stranded are restricted to 16 channels, so some compromises were made, that including just one mic for the kick drum. In this case we used my AKG D12 and Jono pushed it in further than usual to get as much beater sound as possible. This combined with the preamp choice of a Vintech 573 and some punchy 1176 compression was one of the best kick sounds I’ve pulled as yet. It also help that we were using the beautiful in house Gretsch drum kit.

Beyond, the kick, the toms were recorded with Toshiba RB-1 ribbon mics. I’ve become a fan of ribbons on toms over the years for two reasons; They have the ribbon thick, fat tone, and further, being a figure 8 polar pattern, they reduce the bleed from cymbals and other drums. The RB-1s worked a charm on this record as expected.

One last interesting mic combo worth mentioning was Jono Boulet’s stereo crotch mic technique. Rather than standard options for a crotch mic, such as Sennheiser MD 441, Jono likes to use a stereo XY pair of Neumann KM-84s. It was a cool stereo close pair, and whilst it takes mixing a record to really love and appreciate certain mic techniques, it looked like it was going to be a great option in the mix for Jono to dial in.

Last reflections, Sweetie were the first band I’ve recorded that wanted to start at 8am in the morning. Unusual, but productive! The two baffles pulled together in Stranded forms a quiet dead vocal booth.

Below are a bunch of pictures from the session.

 

 

Dharawal composition commission

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I love composing to picture, and in Sept 2022 I was asked to create the sound track for a short promotional documentary on Dharawal country. The job was commissioned by Wollongong Council and produced by Mane Collective.

 

The budget was such that it afforded being able to record local indigenous performer Dale Wright on Yidaki and boomerang clap sticks. Yidaki, or as it is commonly know, Didgeridoo, is not actual an instrument the people of Dharawal country played, but rather originates from the north eastern Arnhem land. Nevertheless, Dale has been bless by the north eastern mob to carry the sounds of Yidaki south, and rightly or wrongly, it is a sound that evokes a sense of the indigenous people and history of Australia at large.

In talking to Dale, I was excited to come to a better understanding of the musical history of Dharawal country, and was told that the men usually played boomerang clap sticks and the women drums made from possum skin.

In trying to be aware and sensitive to all parties viewing and using the documentary, the sound palette that was chosen included:

  • a bed of skin drums, clap sticks, yidaki and field recordings taken from the area. Such sounds were used to place the view on country
  • a range or transitional synth sweeps and synthesizer effects that capture the movement of the weather patterns over the escarpment
  • a chord progression or two that used traditional folk and pop stylings to create a light uplifting emotion
  • and lastly a few modern electronic or dance music influenced drum patterns and techniques to give the product a contemporary flavour.

The direction that the composition and overall sonic arch of the documentary was informed by Jamie LePre, Mane Collective Director. His sense of country and understanding of the task on hand made his direction specific, inspired and a pleasure to work with. I think both Jamie and I enjoyed the back and forth of compositional ideas as the pictures rolled in, and I hope we get to work together on more projects soon.

Below is a few pictures from the recording session with Dale Wright at Stranded Recordings in Bellambi.

 

 

Electric Korma recording session

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On the 14th of July I had the pleasure of tracking a rather curious band by the title of Electric Korma at Stranded Recording Studios.

Effectively they are a red hot trio that do abstracted, rocked-out Hindi Hits / Bollywood covers. A bizarre niche, as admittedly by the front man George, but profitable, and popular amongst the affluent Australian Indian community.

The emphasis of the session was to get great drum takes, and possibly some keeper bass takes and guitar takes. But band leader George and Bass player Joey, stated at the onset that they might do overdubs after the fact at their home studios. The Input list below confirms such, the emphasis being on the drums with minimal mic’ing of other elements.

ELECTRIC KORMA – 14/7/22 INPUT LIST

  1. Kick In – AKG D112
  2. Kick Out – AKG D25
  3. Snare up – Shure SM57
  4. Snare Down – Shure SM57
  5. Hat – Rode TF5
  6. Rack –
  7. Floor – Sennheiser MD – 421
  8. OH L – Coles 4038
  9. OH R – Coles 4038
  10. Room – Gefel – Um-70
  11. Bass DI
  12. Bass Amp – M88
  13. GTR Amp – Shure SM57 – LP 3
  14. Scratch Vox 1 – Shure SM58 – LP 4
  15. Scratch Vox 2 – Shure SM58 – LP 5
  16. Scratch Vox 3 – Shure SM58 – LP 6

The band wanted to play live, and this has informed and directed the mic choice to focus on dynamic and ribbon microphones to minimise bleed between instruments.

The mic choices are fairly standard, but a few things excelled or impressed me during the session.

Firstly, I’m loving the Beyerdynamic M160 double ribbon mic on toms. They have that ribbon warmth and have great rejection past 110 degrees (according to the manufacturers) which keeps down too much cymbals or other drums getting into the mic.

Secondly, The Coles 4038 ribbon mics are such a warm lovely choice for rock drum overheads, and in this particular application, really minimise bleed from bass and guitar amps compared to condenser mic options. They also respond so nicely to a bit of a high shelf lifting those higher frequencies that aren’t so pronounced in ribbons generally.

Lastly, a bit of an AKG overkill, but the D112 and D25 made for a solid, warm thumping kick drum sound.

Below are a few pics from the session.