Ben Folds - Rockin The Suberbs

[wes480]

Yet another album thread.

This is one of the most crisp and "modern" sounding records I've ever heard. The modern part has a lot to do with the songwriting of course...but, the recording is super crisp.

In fact - could it be a largely digital recording? I am hoping that it is....I read the liner notes...didn't see anything about the actual recording processes.

Does anyone know?

Things I notice about this album:

-It has some of the cleanest/brightest piano that I've ever heard.

-The vocals are very crisp and up close

Overall mixes are great of course...

It just sounds very very clean....and, dare I say "transparent".

So, my main question is about digital vs. analog...great sounding record.

 

[wes480]

here is some interesting info:

Prior to touring behind the Messner album, Folds had moved to Adelaide, Australia in 1999 to be with his new family and away from the assorted evils of the music business. (Australia has the highest concentration of venomous snakes and insects than anywhere else in the world. In theory, Folds wasn't that far away from the music business after all). He also decided it was a good place to record. rockin' the suburbs was recorded in an old church with producer Ben Grosse at the controls, and Folds on anything he could get his hands on. Although known first and foremost as an accomplished pianist, Folds' musical education actually began as a drummer in high school. He learned piano primarily as a composition tool, while learning bass and guitar along the way.

In much the same manner as when he was recording demos for the Five, Folds chose Ben Grosse, known for his work on records by Filter and Fuel, to capture a particular vibe the artist was looking to tap into. "Filter was the selling point for me," says Folds about wanting to work with Grosse. "I got the quintessential suburb-rocking producer to work for me. He knows all the sliders and knobs on the board that denote the rocking of suburbs." The recording process, on the other hand, taught Ben some new tricks. Accustomed to simply setting up some microphones in his house and letting the band just play, Folds was taken aback when Grosse came in with his extensive knowledge in Pro Tools and digital recording techniques, wondering what the hell had he gotten himself into.

"We come from two completely different directions," he notes. "I've always stuck up mics everywhere, pressed 'record' and everybody plays. Ben Grosse, however, thinks that's bullshit. He thinks you are making a movie, and he'll edit every little syllable if that's what it takes. There were times when I said to him, 'I can't believe you're doing that' and he'd go, 'What, are the gods going to frown down upon me?' That's where a tug-of-war began, and it's why I think the record sounds as good as it does."


An old church - I remember someone in the "Studio Building And Display" forum saying an old church would be a great place to set up a studio....I have to agree..indeed.

So, it seems that I was right at least *partly* in terms of my digital prediction....

But, I really want to know about the actual tracking...the vocal chain...instruments. hrmm...gotta keep digging. I think I will do some more research on Ben Grosse. Here is the link to the rest of that article, pretty good:

http://www.hiponline.com/artist/music/f/folds_ben/

 

[chessrock]

"I got the quintessential suburb-rocking producer to work for me. He knows all the sliders and knobs on the board that denote the rocking of suburbs."

I just caught on to that quote. That is some damn funny shit.

 

[Sir_Matthew]

Actually, the thing I love most about this record is the songwriting. The production is good because it doesn't overwhelm the songs. "Still Fighting It" and "Mr. Jones" are two of the best songs I've heard in a long time, and the production gives them the space they need.

I have absolutely no enlightenment to add about the production details, but that article you posted pretty much tells it all.

For some reason, I find that this record is best followed with one of the following:

Natalie Merchant - "Motherland"
Rufus Wainwright - "Poses"

It's like picking the right wine for your meal. Ahhhh, tasty!

 

[wes480]

yeah...Rufus is good. I don't have that album...

Actually the first Rufus I ever heard was on the Shrek movie...where he covered the Leonard Cohen song that Jeff Buckley covered, "Hallelujah"

Good tune. I like the Buckley version far more, but I am willing to give Rufus a chance...I'll go pick up that album...is it his best?

Chester - haha...yes, that is a great quote.

 

[wes480]

I dunno, I have this sneaking suspicion that 90% of the stuff was tracked analog....and then worked with in pro tools later...

for god knows what reason...

but, just seems to be the way people are doing it all of the time.

I have nothing against analog...but, really. I just want to see ONE great sounding commercial pop album that touts "All recording direct to Digital" or something.

Because, if it *was* done analog....then I know digital could sound that good too, easily. <sigh>

Yes, Fred Jones is a great song.

 

[Sir_Matthew]

wes480,

Honestly, "Poses" is the only Rufus album I have, but I love the shit out of it. His version of "Across The Universe" on the "I Am Sam" soundtrack is pretty good, too.

 

[crawdad]

I did some tracks for a fellow who worked and trained under Ben Grosse last year. Wow. This guy is a perfectionist with everything he does and his tracks bear witness to that. In fact, I want to book a couple hours of studio time and just have him pass on some of the knowledge.

For all you homewreckers, Ben started out with his own studio in his house back in the early 80's. I actually recorded a couple tracks there and he was good then. Since then, his career has taken off big. It just goes to show that if you stick to what you do, continue to learn and apply what you know, you can go a long way with recording--even if you don't want to do any more than make great records at home.

I agree--the Ben Folds record sounds great.