SOMETIMES I THROW IT UP [PT. II]
WHAT’S YOUR NAME BOY?!?
PT I > http://snd.sc/PAWQRp
STEMS : http://sdrv.ms/13mPh3c
“BRUH. BRUH. THIS GUYS GOT A KIT BRUH.”
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PHILLY TMW
PETRBRUH TUESDADDY
MONTREAL THURSDAY
Friday, April 19, 2013
Wednesday, April 17, 2013
Heading Home
REPORTING: #EDWIN PHENIX
LOCATION: Big Apple - Astoria
PROJECT: #feedcale
DATE: 4/17/13
BEGIN REPORT
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It's been a while since I've been back to my FLA Studio, and on my way down I decided to bring my friend Cale Wier, who is a homeboy from Wisconson. Cale and Kevin Fever go way back, used to by in the US Air Force before Kevin ran away into the woods as a concientious objector. Brought Cale up to Queens to stay in Astoria, while I met up with my second Mother Lido to do some producion and vocals on her live set at the Bossa Nova Civic Club. Isa GT was hosting the night along with some of the Maracuyeah DJ's from DC who were fantastic. After a long day of travels we arrived back at our apartment from the Bossa Nova which was in Brooklyn, to retire and regroup. Today I loom forward to reconvening with Didi C'oola and the Moon King Bros in McCarren Park in Brooklyn, hoping we can talk about bringing the band back together for Kevin. It's a long shot, but could just very well happen.
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END REPORT
LOCATION: Big Apple - Astoria
PROJECT: #feedcale
DATE: 4/17/13
BEGIN REPORT
------
It's been a while since I've been back to my FLA Studio, and on my way down I decided to bring my friend Cale Wier, who is a homeboy from Wisconson. Cale and Kevin Fever go way back, used to by in the US Air Force before Kevin ran away into the woods as a concientious objector. Brought Cale up to Queens to stay in Astoria, while I met up with my second Mother Lido to do some producion and vocals on her live set at the Bossa Nova Civic Club. Isa GT was hosting the night along with some of the Maracuyeah DJ's from DC who were fantastic. After a long day of travels we arrived back at our apartment from the Bossa Nova which was in Brooklyn, to retire and regroup. Today I loom forward to reconvening with Didi C'oola and the Moon King Bros in McCarren Park in Brooklyn, hoping we can talk about bringing the band back together for Kevin. It's a long shot, but could just very well happen.
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END REPORT
Tuesday, April 9, 2013
MORE FEEDING BACK
cO-WORk FEEDBACK:
RE: Live Jazz
Although not incredibly original, it is always soothing to listen to some traditional jazz. In this dimly lit small club, this band is banging away while the bar is pouring taps in the background. Although the hand held camera focused mostly on the keyboard player, who I suppose is the leader of the trio, the bass player was doing some great handywork, which an interesting pan over to his fingers demonstrates. Unfortunately it was evident that the cameraman was interfering with the band at moments, we got a good impression of the feel of the night. I felt the keys sounded a little muffled and were lost sometimes amidst the drums. There could have been a little more seperation between the stand up bass and low toms as well. As it turns out the keys and bass were only captured by the room mics, which explains the lack of seperation. A great performance none the less!
RE:Recorded Jazz
Now this mix is great. Traditional in many aspects, but all the peices were present. Eli and Jesse were the ones who mixed it. I felt the drums were even a little be TOO present. Stand up was perfect in tone and mix, punch and boomy in a great way. The ride again was a little to high in the mix, but snare and an almost perfect level. Piano was places very well.
RE: Listening to our groups mixes on another system. The 1.5 - 3 k range seemed to stand out like a sore thumb, although in the mixing room it did not seem so. Another example of how mixes vary across systems and why it is important not to simply rely on one set of monitors for mixing. The energy of the recordings did indeed prespire fortunately and that is what was the most important to get across. Great songwriting translates absolutely.
Feeeding Back
These are my reactions to some of my co-workers works:
RE: PHAT AS PHUCK
I found that within the 5.1 mix the drums were really a secondary thought. Although the horns are the feature of the band, including Tom the trumpet player who I've worked with in the past, it is important to have that backbeat pulsing. They themselves will admit that the drums are lost in the mix. The video could have used some enhancement, or possibly been rendered to black and white, as the room itself was not the most interesting in terms of set or lighting. The stereo mix I found a little to boomy, perhaps because of the sub's resonance in the room we were listening back to. The horns had lost a lot of their body, as many mixing engineers tend to drop that out. However, knowing horn players, the prefer not to have their horns sound like midi horns and prefer to keep the low mids natural. You can get the same punch with a boost in the highs if it is your goal to have them punch through. Despite these mixing issues I was very glad to hear the band in its new incarnation, as I had heard and played with its predecessor CTRL+ALT+DANCE in the past.
RE: 3 CARS BAND
I wasn't too thrilled with this band. Performing at CMW, they seemed to be pretty run of the mill standard funk rock. With a solo just a little bit too long for enjoyment. The mix was a good representation of the music, however it's too bad they gave such a good treatment to such an unoriginal band. It is strange to me that people can get into creating textures and writing songs that sound like those of hundreds and hundreds of others, not even attempting to push music further than it has before.
RE: PHAT AS PHUCK
I found that within the 5.1 mix the drums were really a secondary thought. Although the horns are the feature of the band, including Tom the trumpet player who I've worked with in the past, it is important to have that backbeat pulsing. They themselves will admit that the drums are lost in the mix. The video could have used some enhancement, or possibly been rendered to black and white, as the room itself was not the most interesting in terms of set or lighting. The stereo mix I found a little to boomy, perhaps because of the sub's resonance in the room we were listening back to. The horns had lost a lot of their body, as many mixing engineers tend to drop that out. However, knowing horn players, the prefer not to have their horns sound like midi horns and prefer to keep the low mids natural. You can get the same punch with a boost in the highs if it is your goal to have them punch through. Despite these mixing issues I was very glad to hear the band in its new incarnation, as I had heard and played with its predecessor CTRL+ALT+DANCE in the past.
RE: 3 CARS BAND
I wasn't too thrilled with this band. Performing at CMW, they seemed to be pretty run of the mill standard funk rock. With a solo just a little bit too long for enjoyment. The mix was a good representation of the music, however it's too bad they gave such a good treatment to such an unoriginal band. It is strange to me that people can get into creating textures and writing songs that sound like those of hundreds and hundreds of others, not even attempting to push music further than it has before.
A BIZZARH DISSAPOINTMENT
EDWIN PHENIX BLOG
REPORTING: #EDWINPHENIX
LOCATION: CRAWL
PROJECT: A Bizzarh Dissapointment
DATE: 4/8/13
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A Bizzarh dissapointment. So, originally I was going to record the full length La Papessa album with Lido, which is still going to happen, however, for the purposes of this project and the constraints on her availability made this ficticious deadline even more of an illusion than it already was. Si my second plan was to record a split release of 2 if the upcoming Papessa demo tracks and two tracks I had arrange for the R&B duo Bizzarh. I areanged for a session with them last week, but they were no shows! I still haven't heard from them. At least if people aren't available, they should be honest about it. A lesson about this failed session is that communication is key. Even Steve Ward a touring musician who doubles as a phenomenal chef was able to be present for our session this past weekend. Anyways, U have the instrumentals sitting around and perhaps will get Lido to work on them if Bizzarh do not get back to me. They are truly as strange as they sound! They are very talented and I hope to continue working with them in the future, provided there is better communnication.
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END REPORT
A Bizzarh dissapointment. So, originally I was going to record the full length La Papessa album with Lido, which is still going to happen, however, for the purposes of this project and the constraints on her availability made this ficticious deadline even more of an illusion than it already was. Si my second plan was to record a split release of 2 if the upcoming Papessa demo tracks and two tracks I had arrange for the R&B duo Bizzarh. I areanged for a session with them last week, but they were no shows! I still haven't heard from them. At least if people aren't available, they should be honest about it. A lesson about this failed session is that communication is key. Even Steve Ward a touring musician who doubles as a phenomenal chef was able to be present for our session this past weekend. Anyways, U have the instrumentals sitting around and perhaps will get Lido to work on them if Bizzarh do not get back to me. They are truly as strange as they sound! They are very talented and I hope to continue working with them in the future, provided there is better communnication.
Monday, April 8, 2013
LIDO MIX
EDWIN PHENIX BLOG
REPORTING: #EDWINPHENIX
LOCATION: CRAWL
PROJECT: Mixing Lido
DATE: 4/8/13
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Mixing the tracks I was able to capture with Lido's limited amount of time [her being a full time student and mother] was vastly different from the Lost Babies. Although the tracks contain some raw elements that I threw into the composition process, it is not a compact tight and dirty grunge band, but rather I strove to create a both massive and present sound with the samples, voice and horn. Ruleta being a more straightforward track was certainly the easiest to mix, and came together quite well. There will be a little bit more to add to it, but not much - in fact there will most likely be much to cut away! Of course only some of these vocal takes are keepers, but for the purpose of this short 3 song EP of the upcoming album ' La Papessa ' this summer, it is a great performance. Lido's dynamic range is a tough beast to handle, but get some good AKG's on it with decent preamps and it sounds incredibly powerful. More thoughts soon.
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END REPORT
Lost Babies Mixing
EDWIN PHENIX BLOG
REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: LOST BABIES MIX
DATE: 4/8/13
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The Lost Babies were a great choice to mix, well rehearsed and sounded great off the floor. Although they weren't able to bring Mamoru's guitar amp, we were fortunate enough to get a good sound out of the resident fender using Mamoru's guitar amp. I did mixes of Tell Me Why and Snake Charmer using cakewalk as my protools rig seems to have permanently crashed and no forums or re-installs can help me fix it. Something to do with loading plug-in settings from other playlists. When I brought my mixes in to compare with Jacob and Stacey's it seemed as though I intentionally took a more dirty approach to the mixing, knowing the bands live sound and vying for a good representation of that. I really enjoyed Stacey's mixes and I hope the band really takes to her work. Mamoru still has some more guitar work to do, and we will continue to mix these tracks after handing in these first mixes. Unfortunately arbitrary timelines given by school are not realistic enough to give those of us mixing for the band and not the project satisfying mix results. It takes time and necessitates sitting on the mixes for more than a week or two, and getting direction and feedback from the band themselves. I really liked the kick sound Stacey was able to pull out of the muddy mix.
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END REPORT
Lido Session!
EDWIN PHENIX BLOG
REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: Lido Pimienta
DATE: 4/7/13
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Putting in the hours. After spending some time preparing all the samples for the track, we finally got together for a proper long session. Along with Lido, I had the pleasure of recording the distinguished Steve Ward of Friendly Rich and the Lollypop People and Caribou on Trombone. Unfortunately due to all the equipment being booked out, I had to simply use my AKG C14 which is a step down from the 414 I had hoped to use. All these tracks were totally new to Steve, but as he is a quite creative and talented lad we were able to bang out the tracks and a series of lines, to later be refined in the future. I was able to get a good sound with the sound devices preamp, which I've used for several projects now open reccomendation of a trusted colleague. More updates to come!
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END REPORT
Friday, April 5, 2013
STAFF REPORT x REMIXERLOU [HARMONIUS TRIBE]
STAFF REPORT
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Eli, Jacob and I met in the 5.1 mixing studio to work on the Von Krippon live mixdown. After a satisfying mix was acheived [minus the standing wave which was indesctructable] We bounced the stems down to our 6 5.1 mono stems. I have never mixed in 5.1 before and it was an interesting process to go through. Now came the hard part. Because none of us have ever used compressor, Final Cut or DVD maker pro we had to trudge our way through the commands not knowing anything. The most tedious was syncing our live audio to the non - timecode high quality DSLR footage that our friend was gracious enough to take, as all the camera equipment was inevitably booked for the weekend. However, this was not the most disturbing part of the experience. What was, was compressor. For whatever reason compressor does not let you choose the directory it dumps files into, or intuitively show you the progress bar. You must open as separate program in order to see that progress, which took a while to find, and in the meantime searching directories for files that had not yet been created but had seemingly been created instantly was quite frustrating. Finally we got everything into DVD maker pro, made a menu and all, and of course, the program claimed that the DVD was not formatted properly. OH THE HUMANITY.
Currently working on the Lost Babies mixes at my FLA studio.
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EDWIN PHENIX
My co-engineer from the Harmonius Tribe situated on the magical Island which houses 'Mt. Lava-Lula'. Quite a talented young lad I might say.
REMIXERLOU [HARMONIUS TRIBE]
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Eli, Jacob and I met in the 5.1 mixing studio to work on the Von Krippon live mixdown. After a satisfying mix was acheived [minus the standing wave which was indesctructable] We bounced the stems down to our 6 5.1 mono stems. I have never mixed in 5.1 before and it was an interesting process to go through. Now came the hard part. Because none of us have ever used compressor, Final Cut or DVD maker pro we had to trudge our way through the commands not knowing anything. The most tedious was syncing our live audio to the non - timecode high quality DSLR footage that our friend was gracious enough to take, as all the camera equipment was inevitably booked for the weekend. However, this was not the most disturbing part of the experience. What was, was compressor. For whatever reason compressor does not let you choose the directory it dumps files into, or intuitively show you the progress bar. You must open as separate program in order to see that progress, which took a while to find, and in the meantime searching directories for files that had not yet been created but had seemingly been created instantly was quite frustrating. Finally we got everything into DVD maker pro, made a menu and all, and of course, the program claimed that the DVD was not formatted properly. OH THE HUMANITY.
Currently working on the Lost Babies mixes at my FLA studio.
----
EDWIN PHENIX
My co-engineer from the Harmonius Tribe situated on the magical Island which houses 'Mt. Lava-Lula'. Quite a talented young lad I might say.
REMIXERLOU [HARMONIUS TRIBE]
Wednesday, April 3, 2013
LOST IN COMBAT
EDWIN PHENIX BLOG
REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: LOST BABIES of VON KRIPPON
DATE: 3/4/13
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Lost in combat. Unfortunately I was unable to attend the BDC scouting mission of the various studios, including CBC which I would have really been interested to see. I have been to Revolution Recordings before to investigate their patching for a training program with RP DYNAMICS, wherein I went to the studio and was shown the restored Neve consoles, and their whole dedicated Revolution Recording hardware creation studio, which really interested me. Having your own gear being patented on site is something that I think seldom exists within these audio complexes.
However, the reason I was unable to attend was due to a dress rehearsal for a dance piece I have been sound designing for since late last year. Henry has read about this piece in my essay, and as he knows working with dancers and choreographers is a time consuming process. Even up until opening night of the show I was being asked to update the mix. Now, people are only human and can only do so much, so I had to be realistic with her and do only as much as I could. As I was working after four I had to send the updated mix as a high quality mp3 over the internet, but due to the lack of professional work world flexibility, the student Head of Audio refused to simply swap the 1 cue file in the program for the show. Alas, such is working in a school environment, fictitious deadlines, rushed artistic work, overbooked facilities and so on and so forth. At least we're young and have plenty of time to work off our infinite debt while being distracted from fundamental societal injustices induced by the corporate state.
Anyways, I look forward to our session tomorrow mixing Von Krippon in 5.1, and mixing the Lost Babies session from Monday night which went incredibly well. I have had a very hard time getting the gear I need for the times when my talent is available for my independent project, but am trying to power through these obstacles to my best ability. The play I am designing for on the contrary has gone incredibly well, and I can't wait to remount it in the real world!
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END REPORT
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