mixing and more

Some of my favorite sounding records lately have a few things in common. They’re crisp, clean, full of air and color, and come out of Altamira Sound Recording in Los Angeles. I’ve been a Luke Temple fan for many years. I’ve also been a fan of another of Luke’s projects, Art Feynman, for a long time. The latter has a new album slow releasing now and I’ve been enthralled by it, on the edge of my seat to hear each new song as it’s released. There’s just something about it, about the songs for sure, but about the sound, about the playing and about the ambiance given to it. I wanted to dig deeper and find out who was behind the recordings of these songs, because they sound so damn good! Take a second and check it out, so you can see what I mean.

I went down a rabbit hole, learning about these other musicians, the studio, the engineers, and listening to other work they’ve all released. Lo and behold, they all have this incredible sound and studio in common. I’d learned enough. I reached out to Altamira Sound to say that I was nearing the end of the tracking for my new record and was curious if they had any interest and availability to help me get some overdubs on it and get it mixed and then on to mastering. It was a complete shot in the dark that I had to take. Both Andrew Maguire and Rob Shelton, of very high esteem to me by this point, responded and were kind and helpful. I knew if I was able to work with them, my mix would be in good hands, but it was clear from my early conversations with Rob that I’d found the right person to also help add those special touches I’ve been hearing, that have separated these Altamira records in my ears lately. Rob took a couple days to listen to my earlier records and also to my new batch of songs. He got back with me to express his interest in working on the project, and also included a killer set of notes for each of my demos, describing his plan of attack, what he could hear in the way of some additional overdubs, and which musician (all people I’d become a fan of by this time) we should get to play on it. So, now in my mind, I’m hearing Rob Shelton on synths and organs, Andrew Maguire on percussion, Carly Bond (aka Meernaa) on Backing vocals. Overdubbing is currently in progress, but I’ll include their information anyway, because they’re all super cool!

Adam Hill appears again for some slide guitar, baritone guitar and backing vocals. Adam has worked with me a lot over the years and had a huge hand in helping me put out “The Damage We Do” and “Finding Virtue”. Also appearing on the new album is Allen Van Wert and Julie Odnoralov, both for some session guitar wizardry. Look them up, they’re incredible. They were wonderful to work with and talented beyond belief. This album credits sleeve is beginning to look like something I have sitting on my vinyl collection shelves. I have to pinch myself.

Adam Hill (left)- Memphis based engineer and session player. With some pretty cool people. Appears on “Water High” and “Leaving Lies”

Julie Odnoralov (aka julie on the internet). Nashville based artist and session player. Appears on “Exit Plan”

Allen Van Wert - Scranton based artist, guitar teacher, and session guitarist. Appears on “No Takers”, “Closed”, “Figure This Out”, “Gradually”, and “My Brother”

The songwriting racket is a tough gig. Aside from the part of writing and singing very personal things you plan for others to hear, recording in a way to capture the intent is incredibly difficult, both emotionally and technically. As a solo artist, then there are times when you need other musicians to help you either do something you can hear but know would be better off in their hands, or with hope that they’ll bring something new and interesting to the song that still matches your intent. Usually it’s the latter. You have to have the confidence in your songs enough to approach talented people, and the belief that they will want to contribute.

You also need thick enough skin when they don’t give you the time of day. That happens too. If you’re fortunate enough to get the pieces recorded and in place, then mixing it all together is a make-it-or-break-it endeavor. It’s one step the artist should not tackle alone. You need someone skilled in the art and science of mixing that truly knows how to balance it all out, has the good gear, and who cares for the songs and takes pride in the sound.

I believe I’ve found the right help on all of those fronts for this album, and I’m smitten!

mixing update