John Gillespie Project Day 4

I realize that I've missed a post for day 3 of this project. Both days 3 and 4 were very similar, though.

As we finish up the early stages of tracking (basic rhythm tracks and main vocals), we have arrived at that fun stage of the recording process. I like to call it the "finishing touches" part. It's in this phase that we add things that we either love or love at the time and then regret loving a few weeks later.

I introduced the idea of adding a "hi-string" guitar to some of the songs. It only really worked well on one of the tunes, "Wondering Why." A hi-string guitar is a guitar that is strung with the upper order of a 12-string set, but only with six strings. That way, you get the sound of a 12 string with the picked accuracy of a regular guitar. Anyone who's played a 12 string knows that it's not exactly a walk in the park to play.

John sang main vocals for three songs and cut bass on two songs. There is only one more song that needs bass. Everything else is about finished. The next session will involve harmony singing and minor overdubs. It seems that everytime I pull out the Reason software, it gets put away. The record is anchored in organic, believable production, which, by modern standards, is both a surprise and a relief. To think that people actually play their instruments now-a-days...

Jay Garrigan Solo Album Session

I was delighted when my brother contacted me last week about beginning work on a solo album. For years, Jay has been involved in many bands, either as a front persona or a side man. In both cases, he has always been exceptional. Also, he's composed a hefty body of work as a solo artist. I'm glad that he's interested in making proper recordings of these songs.

Jay and I worked through the 4th of July and into the 5th...kind of a working holiday. We took a break to look at some neighborhood fireworks. For the most part, we worked on a song called "Unsatisfied."

A few months ago, Jay purchased a Moog analog synthesizer. I used to think that there wasn't a difference between a digital all-in-one box (like a Roland) and a real analog synth. That old assumption is false. Analog synths have a unique sound and depth. It's a lot like the difference between a Line 6 effect and the real thing.

We tracked "Unsatisfied" to a shuffle stereo drum beat and Jay's Moog. Right away, the song was complete. Jay also knew what kinds of sounds he wanted to add for the different parts. While I recorded everything, Jay had very clear production ideas from the start. I just focused on recording things the right way.

Over the two days, we spent about 8 hours working (3 goofing off). The end result was a good mix and a great song. Jay seemed pretty happy with the result. He's wants to book some more time with me soon.

What Is Mastering?

Q: Mike (or anyone else with recording experience): whats your personal definition of "mastering"? What is it trying to accomplish?

A: According to Bob Katz, author of Mastering Audio: The Art and the Science (a book every musician should read), mastering is "the last creative step in the audio production process, the bridge between mixing and replication--your last chance to enhance sound or repair problems in an acoustically-designed room--an audio microscope." I generally agree with this definition.

Things like overall EQ, disc volume, song spacing, and formatting for replication are all decided in the mastering stage of audio production.

Is it necessary? Yes and No.

If you are just working on some home recordings for your own personal use and don't care about the inherent differences between recording sessions, then mastering isn't really needed.

If you are releasing material for the public to hear, mastering is recommended. Also, with the prevalence of mp3 usage now-a-days, mastering can help provide the right EQ and volume to maximize the quality of an mp3.

In the early 90's, when things were being first released on CD, much of the material wasn't mastered properly. If you listen to the original CD release of Cheap Trick's In Color and compare it to the remaster from a few years ago, you'll hear a big difference. Overall, the remaster hits you with more power, it's generally louder, and a better listening experience.

I provide a "budget" mastering service for my studio clients as well as some one-off clients who don't want to spend $1000 mastering a record--that's an average price for most mastering jobs. If you have the extra grand to have an established mastering house master your tracks, you should go with the more expensive place.

My process involves making sure the EQ is commerically acceptable, the disc volume is average (I refuse to make blisteringly loud masters), and the track spacing is appropriate. I don't get into things like jitter, wow, flutter, and word length. My material is properly dithered, though. (These are mastering terms...disregard).

I've had one or two bad experiences with mastering engineers, so I endeavor to provide a more "musician friendly" mastering experience. Of my eight commercial recordings, only four were mastered properly the first time. Mastering engineers tend to like to get paid by the hour regardless of whether or not a mistake has been made. It's such a subjective process that sometimes, up to five revisions are needed to get it right. I provide a flat $25 per song fee, revisions included. And, I stand by my work with a money back guarantee. I see no point in charging money for something that someone doesn't like.

I hope this is helpful.