Post-mortem on Nick J Holmes EP

Recording Studio - Isolation online

For the main project, Phil and I teamed up to record a Christian artist, Nick J Holmes who wanted to create an EP. At the start of the project, Phil and l were going to record Nick J Holmes EP, as much as possible in our own home project studio and use the Neve studio at the campus for the vocals. This was the plan until COVID-19 changed the whole project planning. We decided to do the majority of the project from our home studios to keep in the guideline of social distancing laws.

Meetings

We normally would have arranged our team meetings through Slack and mobile phones. However, as soon as the new laws placed us all into isolation, we arranged an online meeting through Zoom so Phil and I could talk to Nick on how we were going to record his vocals and find out what equipment he has at his home studio. We talked about microphone placement, gain level, marking his standing location, and how to make a homemade pop stopper until he purchased one.

References Tracks

The only reference tracks that we received was his old versions. I absolutely loved having the creative freedom and control of the instrument aesthetics to contribute to Nick’s songs, as part of the creative process. It’s always liberating when an artist (Nick) has faith in your abilities even though he had never heard me play an instrument before and was going on the word of a friend (Phil).

On the other hand, it would have been really helpful to hear Nick’s genre tastes and which artist sounds he personally is influenced by. I didn’t get a clear direction on the sounds that were required to create an aesthetic feel for Nick’s EP, and to help tailor an individual sound that represents Nick’s musical journey, rather than just having a song by song vibe, which is pretty limiting.

Chord Charts

There were no chord charts provided and some of the audio provided was extremely hard to clearly distinguish the chords that were being played. I allocated a week to get the guitar and bass guitar parts down. A week is a very short time frame to learn the songs along with creating aesthetics feels and create what l thought the songs needed to help capture the vibe. This plus slotting into how Phil plays and Nick sings. Ultimately this project pointed out a couple of my weaknesses, and the areas l need to improve on, to create a quicker workflow. The biggest lesson I learnt was I need to be able to write chord charts while listening to the song, so at the end of the song, I have a basic idea of what is going on with the song structure. This would definitely help in creating a speedier workflow and also make learning the songs a lot easier. l will be investigating different ways of creating quick chordal charts, so l can spend less time learning the client’s songs. I know the Nashville system uses numbers instead of chords, so that could be the best way.

Recording Guitars and Bass Guitar

On the milestone planner, we had allocated a small window timeframe to get the recording done. I decided to use an amplifier for this project, but instead of microphoning the amplifier, I wanted to explore using the headphone output as an output line. By using the headphone output, it gave me a couple of options to choose from. I could either use a straight mono ¼ inch guitar lead or use a stereo ¼ inch jack split into 2 mono ¼ inch guitar jack leads. I decided to use the stereo ¼ inch jack into 2 mono and go into 2 DI Boxes.

The signal flow order from the amplifier into the DAW:

1 Amplifier output

2 DI Boxes

3 2 Channel Preamp

4 2 Channel Compressor

5 mixer

6 Interface

7 DAW

This was the quickest way for me to quickly lay down the tracks onto 2 separate input track channels and into the DAW for all 5 songs. I put the electric and acoustic parts through the DI Box for convenience and to keep on track with the milestone planner.

Transferring songs between 3 computers

We had a lot of problems when it came to transferring files between each other. The biggest problem being was the bit and sample rate communication. After I recorded the guitar parts to a click, there was a problem with the click tempo being ‘out’ on the bar of the editing suite. I think the problem occurred with the transferring between Phil and Nick. I had no time to sort it out and time waits for no one. Somehow it had been altered from Bit 24 Sample 48 to Bit 24 Sample 44.1 without realising it. I remember Phil slacked me about Nick having a problem with the sample rate and that problem, set the course for tempo discrepancies throughout the rest of the sessions. On reflection on this one particular problem, it ended up becoming a huge problem. I think it is important to find out what the client’s default settings are in the DAW and work with their default DAW settings, or set the sessions and import the wav file, so they get converted in the DAW before the wav file enter the session. Phil and l were transferring session folder between us and l now think that that was a big mistake. Maybe I should have tried starting a new DAW session and load up the songs into bit rate 24 sample rate 44.1 to see if that would rectify the problem, as I was struggling with keeping the project on track and on reflection it didn’t even cross my mind until now. This part of the project has been a valuable learning curve and brings me to think I should create a session DAW sheet, that has all the basic tick boxes needed for everyone in the session to make a session go smoothly.

DAW Problems

We had more problems bigger than Ben Hur during a chariot race, on some of the songs. The main problem song was ‘My Heritage’. The rhythms weren’t syncing up with the measure bar in the edited window. I had to cut some parts up and use my guitar track as a rough reference meter. (Lucky I used a click track on the original sessions on all the songs prior to sharing.) Once again, I think the problem came from exchanging files with different sample rates and not double-checking settings before transferring. We ended up on week 10, joining and rendering each track into one full clip and then start our editing and mixing. I did the best l could in the timeframe. At this present time, l don’t have the skills to quickly fix up a problem that should not have occurred in the first place (damn it). Throughout the session, all the songs seem to have their own little problems. From now on, once l’ve created a session (that is error-free), then I will import all wav files into the session, to stop this problem happening again. Very very disappointing.

Analysis of each song

‘My Heritage’

My instrument Aesthetic

Guitar

The guitar sound I chose for this song, (which reminded me of a Rap vocal vibe mixed with Reggae rhythm feel), was to use a clean Stratocaster rhythmic tone off the single-coil at the back-pickup position to create the Reggae sound. My guitar sound seemed to fit the vibe and blended in better with Phil’s keyboard arrangement. l doubled checked with Phil to make sure he was happy with the guitar tone, so l didn’t have to redo parts later.

Bass Guitar

My bass guitar work that l blogged about earlier in the trimester, ended up being replaced with a more Reggae synth bass feel which suited the song a lot better.

Mixing

I wanted to mix the song to capture the Reggae feel, rather than a Rap interpretation. (I know nothing about Rap)

Phil is really good with the Reggae genre, so l was aiming to create a Reggae song that blended the taste of Rap vocals.

I wanted the guitar sound to blend with Phil’s Reggae style he had created originally for this song. Since l wasn’t given any reference songs from other artists to go by, and only a rough demo of the song, it makes it difficult to dial up the right sound with the guitar and amplifier.

The drum kit sound l was after, was to have the kick a little punchy feel and the snare to sound crisp in texture and to give it a Reggae sound and vibe about it.

This song definitely needs more work done on the rhythm section. The guitar seems to blend in ok with the overall sound. I had a lot of options on how I wanted the mix to sound, so I went for an all instruments mix that would give a good balance throughout the song.

Instrumentation – Phil / Drums, Keys

Roy / Guitar

Song Reflection

As mentioned, this song was the Ben Hur out of all the songs for the EP. It was a struggle to get it to sound fluent in the rhythm section. All the instrument parts seem to be out just a fraction compared to my rhythm guitar. Consequently, I worked of my guitar rhythm to tighten up the song. As far as editing process goes, this song was the longest. This song proved that I need to learn more tools within the DAW. I feel my workflow for this song was pretty average, as l spent too much time trying to fix it to a reasonable standard. The mix still needs more work on creating some instrument variety throughout the song to prevent it from getting boring.

‘This Must Be Our Dream’

My Instruments Aesthetics

Guitar

This song l used a clean tone again, the same tone as the song My Heritage. Instead of doing a full Reggae guitar rhythm, l decided to add a riff into the song to try and make the song have its own personality. I think the riff sound works, it’s all a bit sloppy rhythmically, but considering the timeline it’s the best l could do. I think the muffled riff sound could blend a little better with the Bass Guitar. I used the tremolo arm on the Stratocaster to signify the end of a chorus and the beginning of the verse.

Bass Guitar

I used a DI Box to plug the bass guitar into, I was aiming for a warm full bass tone that would complement the guitar and sit in the background as more of a filler instrument. I think the bass guitar tonality fitted in with the other instruments

Melodyne on Vocals

I think we really need to explore changing the key for the vocals. I used Melodyne to fill out the vocals by duplicating the vocal clip and adding Melodyne to create a harmony slightly above the main vocal. I wanted the harmony to be more of a support and have it just under the main vocal. I think it works pretty well.

Mixing

I wanted a more spacious feel to this song, depicting having a party in the background without drawing attention to itself.

For this song to aimed to lean more towards Phil’s keyboards as the featured instrument for the chorus, with its phase swirling sound.

The drums kick and snare are sitting in the background which I think should have been a fraction higher in the mix. I didn’t want a booming kick and real snappy snare, I aimed for more of a mellow drum kit sound.

I like where the vocals are sitting, on the cusp of being too loud for the song. The vocals still need work on them, as in some sections the vocals sound too low.

I think the guitar is about 90% current in the mix. I wanted to present the rhythm guitar as having a present but not get lost with the other instruments. Overall the mix needs to be balanced better.

Instrumentation – Phil / Drums & Keys

Roy / Guitar

Song Reflection

This song reminds me of a Reggae with a touch MOR (Middle of the road) 80’s vibe about it. Rhythmically it’s a bit stilted and not very fluent with its groove. It sounds like the band has never played together before. I need to go back into the editing suite on the DAW and see if l can get the rhythmic groove happening more fluently. Tighten and sync all the instrument part and have another look at the mix.

‘Dreams’

My Instruments Aesthetics

Guitar

I was after an edge rhythm distortion sound that would sit and give the rhythm a garage band vibe. The rhythm guitar tonality I was looking for was a midrange sound, mellow but bright sound that would sit within the band. I would have loved to have some references for this song so l could create the exact sound, but I had to create the sound I thought would sound good for the song.

Mix

I wanted to create the late sixties to the early seventies and mix it more MOR (middle of the road).

I used Phil’s keyboard swirly organ sound as a lead instrument vibe about it. (As l didn’t play any lead guitar on any of the songs) His straight piano sound l placed it in the background with the rhythm section.

I think the piano needs to come up a little bit. The keyboard bass could be EQ a little brighter to bring it out in the mix. Just modifying the bass frequency brighter would help give it some space in the mix.

The drums snare is a little too low in the mix and I gave it a bright snappy spring sound to give it presence in the mix. Kick also needs to be worked on, so the drum kit has a better feel in the mix.

I wanted the rhythm guitar sitting in the background, as it allows the keyboards to be more of a featured instrument for this song. It’s just the matter of getting the mix sitting right.

Instrumentation – Phil / Drums & Keys

Roy / Guitar & Bass guitar

Song Reflection

I think this song turned out ok. The mix could do with more work, but it’s a good start. All instrument's aesthetics seem to sound ok. I think l would’ve like to add more guitar work parts to have different sound textures.

‘Tribute (Thank You)’

My Instruments Aesthetics

Guitar

I went for the distortion pedal straight away for this song, to get an edgy sound that would simulate the Bon Jovi ‘anthem’ guitar sound. I used the edgy distortion for the whole song and then added another distortion pedal to thicken out the choruses. I wanted to give the guitar a classic anthem arena vibe about it. I double-tracked all the distortion parts and then blended the guitar tracks together during mixdown. I had just completed a case study on the Christian Rock band Stryper, so l kept that in mind for the guitar sound. I think the guitar sound suites the vibe of the song.

Bass Guitar

For this song, I was after a more spacious free vibe in the tonality, so that when I was playing bass guitar up higher on the fretboard it would be present but not too loud in the mix. I was after a tone frequency that didn’t boom out when the low notes were hit.

Mix

I wanted a classic anthem arena sound, with instruments sitting behind the vocals.

The keys I wanted to use their presence to fill out the song. I raised the straight piano sound to give it more of a ‘singer piano artist’ feel. I used the string synth as atmos to highlight different parts and the other synth sounds to support the vibe of the song.

The drums, l was after the snare to snap and the kick to punch throughout the song, to interpret the song was being played in a big arena. The drumsticks hitting the rim of the snare, l was looking for more of a dull sound that popped instead of cracking. I think the drum kit could be brought up a fraction in the choruses.

The bass guitar I intended to create a classic anthem feel. It was mellow down low and not too bright when high. The frequencies need to be tweaked to give it more space in the mix.

The guitar rhythm was intended to be mixed as more of a support to the rhythm section. I intended to feature the riffs by bringing them up and then turn down a couple of dB levels during the rhythm so the guitar would sit back in the mix, but still have a presence in the song.

Instrumentation – Phil / Drums & Keys

Roy / Guitar & Bass guitar

Song Reflection

For me, this song would be survived from the chopping block, if l had to cut songs out, it needs work on the drums to give it that anthem stadium vibe. The mix is nearly there as far as a general starting mix point to keep refining the mix. The instruments need more space and the frequencies need more shape. I would also look at some more panning options.

‘Chosen’

My Instruments Aesthetics

Acoustic guitar

The acoustic guitar would have sounded better if I’d also placed a couple of microphones to record the guitar session with. I had to learn the song as quick as possible and get it tracked. I think it sounds ok, just not brilliant. The sound is a bit too thin and it needs more of a mellow sound, I probably just need to add a little bit more of the midrange EQ frequency.

Bass guitar

I was aiming for a mellow fretless bass sound that would complement the vocals and help give the song an easy-listening vibe. I wanted the bass to create its own sound and feel within the melody structure.

Mix

I was intending to create a modern gospel pop feel for this song. The only drums in this song are toms at the end, which I panned left and right, to create a spacious rhythm feel.

With Phil’s keyboard and synth, I went for a modern gospel vibe and leaned on the piano again to support the vocals, using the synths to build up the song and give it some dynamics through the song and acoustic guitar to create the idea that it is a ballad gospel song. The acoustic tone l left as raw as possible so it sounded natural. I imagined it would be an acoustic guitar rhythm song. I built up the instrumentation through the song and gradually moved the guitar back in the mix to allow space for other instruments.

With the bass guitar, I wanted it to sit beside the acoustic guitar and give some depth into the song, otherwise, it would be to top frequency heavy (thinking of Guy’s frequency seesaw effect).

Instrumentation – Phil / Drums & Keys

Roy / Guitar & Bass guitar

Song Reflection

I wasn’t expecting to play any acoustic guitar on Nick’s EP, so when Nick requested an acoustic guitar part, I put it through a DI Box and quickly tracked the guitar as quick as l could. For some of the instruments in the mix, I probably need to experiment with widening the sonic scope by panning some of the instruments more. I’m thinking that if I gave some of the instruments more space and start working on the frequencies to create clarity within the mix I might get a better sonic picture. At the moment some of the instruments sound a little low in the mix and need to be brought up to create some dynamics. Especially at the end with the Toms. At the same time, I think the mix just needs to be tweaked as its all most there.

Overall songs Reflection

My favorite songs on the EP are Chosen, Dreams, and Tribute (Thank You), because they sound and have more commercial feel than My Heritage and This must Be Our Dream. I feel the mixes are at a good starting point to really get the best out of the through tightening the mix. I will be researching on how to get the rhythm tracks grooving and sounding better, as this will help me in the next project. When I listen to the mixes, I can hear the electronic drums need to be worked on and get the rhythms all in check. The keyboards and synth sounds were pretty good straight off the cuff, and l only added a little EQ. It would be good to have more knowledge on how to get the best out of keyboards and how to create your own keyboard sounds so the songs would have of an individual sound about them. I think the songs sound ok for the timeframe we completed the project in

Conclusion

This has been a huge learning curve. I now have a more solid foundation on how I want to create a client’s project and have experienced some of the pitfalls by using different computer settings and the problems that can happen along the way. I consider this project a lesson in, what can happen if you don’t have a solid plan in place to start off with. Phil and I were transferring song folders between use and at one stage we had everything on track and then it went belly up for some reason. The big lesson is, only transfer wav files to each other and import those files into your DAW session. I think I have an idea of why the problem happened, but I can’t be sure, and I really need to be there.

For this project, I decided to go through the output of an amplifier to see if I could incorporate it into the DAW successfully. I think the guitar sounds were pretty good. The only downfall is I had to use the headphone output and it cuts out the speaker. So, if l wanted to use a microphone in front of the speaker and an output jack, l would have to buy another amplifier.

Phil and I started using Zoom on this project as a way to increase our project workflow. Zoom became the best way for us to quickly resolve any problems. We needed to amalgamate and render nearly all of the tracks to give us a somewhat clean start. Zoom was outstanding for us to view and share song alterations.

We were able to have our client meetings on the spot with Nick through Zoom. We still used Slack for our daily chat updates, and if it was an emergency, we use the mobile phone.

I really would have liked to have good reference songs for this project. It would have made it a lot easier to create the guitar and bass guitar aesthetics easier for the songs. All the songs suffered because of no reference to base tonalities for instruments on. unfortunately, you’ve heard one song, then you’ve heard the lot.

I’ve learnt more about my strengths and weaknesses through the process of the creation of Nick’s EP. My strength is I’m able to create a quicker workflow now. My weaknesses are l still don’t know enough about problem-solving.

There were times when I was getting behind according to the milestone planner we created, but I manage to bring my parts back on schedule. I would send Phil a copy of the guitar and bass guitar parts that I had just tracked to keep him up to date and to review my work. Phil had the final word on all of my guitar and bass guitar tracks. l kept him up to speed in the recordings, so that If he thought l needed to make changes to the songs, l could do the changes straight away. I also kept in constant communication on a daily basis with Phil to keep our project on track. I doubled checked to make sure everything was good and if we had any problems, we were able to resolve it straight away.

It was great to have a chance at mastering the songs. All the songs are mastered at 14 LUFS. I created a mastering suite for each song. By doing this, it made it easier to master quickly once l had made any mixing adjusted. I also did research on what is the best mixing LUFS level. By knowing the correct mixing LUFS level for mastering, also made quicker to master.