Garbage In=Garbage Out

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starbuck26

starbuck26

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Hey fellas,

I posted one of these songs on the recording techniques page a couple of weeks ago, obviously in the wrong place. So I waited a week or two and twiddled my thumbs and drank a beer or two and posted three more songs and now humbly submit them to whatever comments ye may have.

I understand fully that Garbage In=Garbage Out. And a lot of this could be considered garbage. We were working under limited conditions and time constraints, and this is what we came up with ---> myspace.com/redquiet. All of the recordings were done over two nights in the basement of the art gallery where I work, which is a rectangle with concrete floors.

We recorded all of the tracks live, doing about three or four takes per piece. And we had to set up/take down everything after each night, so it seriously cut into the time we had. I was forced to check levels etc using headphones, which is why I was not surprised that a little bit of clipping showed up when I play them at home.

It was all recorded on 2 tracks. Guitar with a SM57, Retarded Guitar was DI, Recorderman Method with two overhead condensers on the upside down buckets, and the vocals through some audix p.o.s., handheld, because the singer refuses to put the thing on a stand.

There are mistakes up and down the whole thing, but I do think that it has a certain energetic feel to it, in any case. It's fun, at the very least.

Comments/Suggestions would be HUGE.

rock on.
 
I completely see what you mean about energy, its nice to listen to something with a bit of flow. Im getting a bloc party ish feel on IF.
I reckon the space sounds workable, if you were able to beg borrow or steal something to record multiple tracks you could set the levels conservatively (so no clipping) and clean up some of the mud later. Also you could overdub the vocals which seems to be the main problem

I really like it :)
 
Garbage-In=Garbage Out

Thanks for the comment.

I've been looking into upgrading my old, beat up Fostex MR-8 with a multitrack of at least 8 inputs. That would solve a lot of my problems with live recordings.

I feel you on the vocals. It was really borderline impossible to get a consistent sound out of Colin (the singer) since he was moving around and everything. We didn't get a chance to prepare as much as I would have liked. I tried to make dry recordings with no vocals and then overdub and double track all of them later, but everyone in the band felt (eventually I was convinced) we would get better recordings if we were able to hear him sing. Most of the parts aren't set in stone in most of our songs; we respond to vocal cues for the majority of the changes.

Now that I think of it though, perhaps I should have put him in front of the PA and not recorded it on its own channel. Whatever bleed that came through might have been cool.
 
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