Spent Tues, Weds, and Thurs in Cedar Creek Recording with daughter Shaidri and cellist Doug Harman. We did okay, cutting head-on without headphones. Might overdub mandolin on one cut Monday for a little backbeat. Otherwise, no overdubs, though admittedly, some editing between takes. We worked 10 AM to 6 PM each day and all of us felt the strain of the kind of concentration invested.
We spent two days a month and a half ago at my house, working through the material. Doug Harman is a fabulous musician, a dear friend, with whom I've played in several contexts (Balcones Fault, Cedar Frost, and others in Austin long ago). His contribution has been awesome.
As the really rough mixes (Fred Remmert spent, literally, 3 to 5 minutes on each song for these) began Shaidri commented that, of course, we'd all like to have time and money to make every single cut better than we played it. Fred said, "Most records aren't tracked in three days".
Have to say Fred Remmert is one hell of a good audio engineer, and a really great guy. His skills and attitude contributed deeply. I greatly enjoyed not having to do this as a self-recorded project. Thanks to Executive Producer Fletcher Clark for that, and for lovely help with some orchestration in a medley of The Right of Man, Old French, and After the Battle at Aughrim.
Mixing Monday and Tuesday, mastering Thursday, off to replication and packaging Friday the 13th (hey, what could possibly go wrong??), and hopefully, product in hand in the first half of December.
We're playing at the Armadillo Christmas Bazaar in Austin Friday, Dec 18th, 3:30 to 6 PM, after Sahara Smith (new CD coming out produced by T Bone Burnett), who is quite good, and before Jimmy LaFave.
I just hope we do well enough with this one to get to do another one.
> Spent Tues, Weds, and Thurs in Cedar Creek Recording with daughter > Shaidri and cellist Doug Harman. We did okay, cutting head-on without > headphones. Might overdub mandolin on one cut Monday for a little > backbeat. Otherwise, no overdubs, though admittedly, some editing > between takes. We worked 10 AM to 6 PM each day and all of us felt the > strain of the kind of concentration invested.
> We spent two days a month and a half ago at my house, working through > the material. Doug Harman is a fabulous musician, a dear friend, with > whom I've played in several contexts (Balcones Fault, Cedar Frost, and > others in Austin long ago). His contribution has been awesome.
> As the really rough mixes (Fred Remmert spent, literally, 3 to 5 minutes > on each song for these) began Shaidri commented that, of course, we'd > all like to have time and money to make every single cut better than we > played it. Fred said, "Most records aren't tracked in three days".
> Have to say Fred Remmert is one hell of a good audio engineer, and a > really great guy. His skills and attitude contributed deeply. I greatly > enjoyed not having to do this as a self-recorded project. Thanks to > Executive Producer Fletcher Clark for that, and for lovely help with > some orchestration in a medley of The Right of Man, Old French, and > After the Battle at Aughrim.
> Mixing Monday and Tuesday, mastering Thursday, off to replication and > packaging Friday the 13th (hey, what could possibly go wrong??), and > hopefully, product in hand in the first half of December.
> We're playing at the Armadillo Christmas Bazaar in Austin Friday, Dec > 18th, 3:30 to 6 PM, after Sahara Smith (new CD coming out produced by T > Bone Burnett), who is quite good, and before Jimmy LaFave.
> I just hope we do well enough with this one to get to do another one.
> "hank alrich" <walki...@nv.net> wrote in message > news:1j8ttpt.12ginfr1nye2kuN%walkinay@nv.net... > > Spent Tues, Weds, and Thurs in Cedar Creek Recording with daughter > > Shaidri and cellist Doug Harman. We did okay, cutting head-on without > > headphones. Might overdub mandolin on one cut Monday for a little > > backbeat. Otherwise, no overdubs, though admittedly, some editing > > between takes. We worked 10 AM to 6 PM each day and all of us felt the > > strain of the kind of concentration invested.
> > We spent two days a month and a half ago at my house, working through > > the material. Doug Harman is a fabulous musician, a dear friend, with > > whom I've played in several contexts (Balcones Fault, Cedar Frost, and > > others in Austin long ago). His contribution has been awesome.
> > As the really rough mixes (Fred Remmert spent, literally, 3 to 5 minutes > > on each song for these) began Shaidri commented that, of course, we'd > > all like to have time and money to make every single cut better than we > > played it. Fred said, "Most records aren't tracked in three days".
> > Have to say Fred Remmert is one hell of a good audio engineer, and a > > really great guy. His skills and attitude contributed deeply. I greatly > > enjoyed not having to do this as a self-recorded project. Thanks to > > Executive Producer Fletcher Clark for that, and for lovely help with > > some orchestration in a medley of The Right of Man, Old French, and > > After the Battle at Aughrim.
> > Mixing Monday and Tuesday, mastering Thursday, off to replication and > > packaging Friday the 13th (hey, what could possibly go wrong??), and > > hopefully, product in hand in the first half of December.
> > We're playing at the Armadillo Christmas Bazaar in Austin Friday, Dec > > 18th, 3:30 to 6 PM, after Sahara Smith (new CD coming out produced by T > > Bone Burnett), who is quite good, and before Jimmy LaFave.
> > I just hope we do well enough with this one to get to do another one.
hank alrich wrote: > Spent Tues, Weds, and Thurs in Cedar Creek Recording with daughter > Shaidri and cellist Doug Harman. We did okay, cutting head-on without > headphones. Might overdub mandolin on one cut Monday for a little > backbeat. Otherwise, no overdubs, though admittedly, some editing > between takes. We worked 10 AM to 6 PM each day and all of us felt the > strain of the kind of concentration invested.
It's worth noting that while Hank is an experienced and well equipped recording engineer, he had the good sense to not try to juggle engineering along with playing, and let someone else take care of the technical details.
Nobody can be an expert at everything. When you're making a record, it's the music that's going to live on, not which mic you used or how many dB at 8.4 kHz you added to get some air on the vocal.
That sounds fantastic Hank let me know when I can buy your CD, I believe I will learn not just a lot from your playing but also quite abit from your production as well George
> Well thank you, Bob! Prerelease Usenet sales are already up to two > units! This thing could sell in the dozens!!
>> Bob Morein >> (310) 237-6511
That reminds me of the Onion report on the NYC "poetry racket". According to the Onion, the Mob has muscled into poetry, and the stakes are "tens of dollars per year."
hank alrich wrote: > Soundhaspriority <nowh...@nowhere.com> wrote: >> I would like to buy a disk. > Well thank you, Bob! Prerelease Usenet sales are already up to two > units! This thing could sell in the dozens!!
I want one too, preferably a virtual one, reasonable price assumed.
Soundhaspriority wrote: > I would like to buy a disk.
> Bob Morein > (310) 237-6511
> "hank alrich" <walki...@nv.net> wrote in message > news:1j8ttpt.12ginfr1nye2kuN%walkinay@nv.net... >> Spent Tues, Weds, and Thurs in Cedar Creek Recording with daughter >> Shaidri and cellist Doug Harman. We did okay, cutting head-on without >> headphones. Might overdub mandolin on one cut Monday for a little >> backbeat. Otherwise, no overdubs, though admittedly, some editing >> between takes. We worked 10 AM to 6 PM each day and all of us felt the >> strain of the kind of concentration invested.
>> We spent two days a month and a half ago at my house, working through >> the material. Doug Harman is a fabulous musician, a dear friend, with >> whom I've played in several contexts (Balcones Fault, Cedar Frost, and >> others in Austin long ago). His contribution has been awesome.
>> As the really rough mixes (Fred Remmert spent, literally, 3 to 5 minutes >> on each song for these) began Shaidri commented that, of course, we'd >> all like to have time and money to make every single cut better than we >> played it. Fred said, "Most records aren't tracked in three days".
>> Have to say Fred Remmert is one hell of a good audio engineer, and a >> really great guy. His skills and attitude contributed deeply. I greatly >> enjoyed not having to do this as a self-recorded project. Thanks to >> Executive Producer Fletcher Clark for that, and for lovely help with >> some orchestration in a medley of The Right of Man, Old French, and >> After the Battle at Aughrim.
>> Mixing Monday and Tuesday, mastering Thursday, off to replication and >> packaging Friday the 13th (hey, what could possibly go wrong??), and >> hopefully, product in hand in the first half of December.
>> We're playing at the Armadillo Christmas Bazaar in Austin Friday, Dec >> 18th, 3:30 to 6 PM, after Sahara Smith (new CD coming out produced by T >> Bone Burnett), who is quite good, and before Jimmy LaFave.
>> I just hope we do well enough with this one to get to do another one.
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