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

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

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

LOST BABIES OF VON KRIPPON

REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: LOST BABIES of VON KRIPPON
DATE: 31/3/13

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BEGIN: REPORT

Our Mission: to take the live recordings of Von Krippon and Mix them in 5.1, and to capture and document the ancient sounds of the ' Lost Babies '. We captured the video of Von Krippon at the ' CREATURE CRAWL ' space a couple weeks ago. There was some unnerving events that unfolded that night. The two members of the gang got in a fight at a get together later that night, and we have not since heard from them. They put on a great performance with quality tone, but all would be for naught if they were to continue this feud. We await the outcome. However, we plan to mix the show in 5.1 once we get the footage. I was pleased to finally find out the format in which systems read 5.1 sound [AC3]. It is very interesting that a limited number of programs such as COMPRESSOR and one of the Adobe suite programs are the only ones that can document audio in this format. 

Following this we captured a demo take of the ' LOST BABIES ' in rehearsal, unfortunately their lead singer was not present as she had to deal with some unforeseen circumstances, however our group met the band and we are preparing to capture their sound in studio. Key components of the setup are the D112 on the kick and AKG  414 on the vocals. NT4 will be used to capture the drum overheads along with a series of 57's for amps and close micing. We would like to experiment with the tascam 4-TRACK to see if we can get some good tape compression and saturation for some of the mixdowns. All in the near future, and our adventurous crew looks forward with a determined cinematic stare.

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END REPOR

REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: Trouble in the Sewers
DATE: 16/3/13

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BEGIN: REPORT

Our crew decided that as a fallback plan we would record the LIVE SESSION at the creatures | crawl layer, where on the 16th they would be hosting a live performance event where everyone would be in pyjamas for a pyjama party, an ideal aesthetic situation for a live video shoot. However, for the comfort of the guests, the organizer of the event preferred that we organize to shoot with all the decor and all during the sound check to test, and then feel out whether to shoot the full audience or not after that. So we settled for that, however, noone at the Equipment Distribution facility knew how to find the 24 channel JoeCo recording unit, and so we would have to fall back on a Focusrite Saffire Pro 10, with 8 ins. Not ideal however we are able to run all the audience mics as a stereo mix reducing the needed amount of inputs on the rack. The video will be shot my 'Snake' on his 5d camera which has great resolution.

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END REPORT

VOX ELECTRONIQUE || ENTERING THE PARALLEL UNIVERSE

REPORTING: #EDWINPHENIX
LOCATION: UNKNOWN
PROJECT: Week 5 Progress Report
DATE: 23/2/13

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BEGIN: REPORT

Have come to a clearing in the sonic jungle. It's been a while of insane audio madness, so I'm going to sum up the past month or so in one report. We began our endeavor into the jungle searching for the entrance to the "PARALLEL UNIVERSE". We would find the clues that would lead us to this universe through our first messengers 'Shintaro'. They are a DJ duo that we were going to have on our radio show at first, but then it turned out that they no longer perform live, however one of them would aid us by being a panelist on the show itself. In order to find the gate to the Parallel Universe it seems that we would have to find some other audio prophets to guide us to the entrance. We then were confronted with the other wordly Parallels, and Saturns.For some time we had trouble finding the appropriate time to meet with these audio Prophets, but we set our sights for the 20th of February. We had meetings with our crew on how to approach this mission, and as the date approached it was concluded that we would need the help of Lido Pimienta a breaking Canadian electronic music artist originally based out of Colombia [https://soundcloud.com/lido-pimienta/sets/lido-pimienta-color] and

Tom Avis from the electronic music blog Silent Shout [http://silentshout.ca/]. We tried approach the gateway pre maturely, but were unable to get the necessary access and equipment due to competition from other crews of prospectors on similar quests, although ours would be the holiest of all. With only 7 hours total available time to prep for our entrance to the Parallel Universe we had to come up with an entrance plan - this would be the ingeniously created VOX ELECTRONIQUE stingers created by agent Eli Roths. As I was the head of the team I took the role of hosting all of our audio Prophets while the rest of the crew tackled the technical side. We were able to get footage of the entrance to this Parallel Universe curdosy of last minute crew member Leo Ashton, however the audio was sabotaged along with our protools session - although we had tested it in advance our system crashed. I suppose this is what happens when you try to access something as heavy as the 'Parallel Universe'. The Electric Eels crew was however pleased with the outcome despite some technological hiccups that were unavoidable. The only problem was the documentation of the event being sabotaged by cosmic forces. The prophets Parallels and Saturns were very happy along with the panel hosts Lido and Tom Avis and will continue to stay in communication into the future.

Aside from this, Edwin [speaking in third person] has had a continued repor with Lido Pimienta and will likely be assisting her as his next directive. After crossing through to the Parallel Universe he feels more than confident in his ability to create a documentation of her audio Prophesies in the form of an ep which will precede the full length album entitled La Papesa. This EP will be used for performances on CBC and for touring with the Montreal electronique artist BOOGAT [https://soundcloud.com/boogat]. Many more exciting news to come, going back into the audible jungle, slowly approaching the mountain which will hold unprecedented audio magic.

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END REPORT

BACK IN THE JUNGLE || WEEK 1

REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: Week 1 Progress Report
DATE: 15/1/13

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BEGIN: REPORT

Brainstorming ideas for the Spirit Live radio broadcast we will be putting together for the BDC directive. Looking into a couple U.S touring acts to book into the show - some friends of friends. Also looking into getting 1 or 2 duos to either play or battle off for the interview. I have some experience working with Drums and Bass duos I SMELL BLOOD and KIZ AND LEGIN when I brought them down to New York for a showcase. It would be interesting to recreate this in a Canadian studio. I was thinking about putting up Tonka Puma with Kiz and Legin instead perhaps, also another drums and bass duo. Also, we have been looking into getting Odonis Odonis and Shintaro [http://shintaro.bandcamp.com/] as potential acts.

We're in good shape.

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END REPORT

Another case of the Shakin' Natives

REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: GINGER GREY
DATE: 25/12/12

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BEGIN: REPORT

Brought the Shakin' Natives session files back home and started to work on them in Pro Tools. Agents Dan and Nicole had already started some basic compression and gating of the tracks, which was a nice and simple point to start working from. I tweaked some of the compression ratios, used some other compressors such as waves Vcomp and some VEQ's for different tracks. I decided to put some blanket overdrive on all the vocals, to give it that rugged lo-fi sound it needed. Dan later listened to the mix and thought they were a little too crunchy, but it was a good aesthetic. I used STOMP II plugin for this. I put a vintage filter on the drums - besides the kick - in order to get some fat and gritty sound. Also, I put a sub bass booster on the kick [Waves Rbass] to have a concentrated boost in the 80 Hz frequency. I parallel compressed the drums and kept the compression relatively low in the mix, because this sound shouldn't be too compressed, although a pop tune it is still pretty lo-fi. I think the result was a nice and punchy grunge sound, rather than a shimmery bright over produced sound which is not what I think the band is going for. I'd like to bring them down to my studio to redo some of the vocals in the future. I see some great potential in these young lads and would like to set them up with some other fitting acts to play some shows.

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END REPORT

REPORTING FROM THE FOLEY ROOM

Agent #EDWINPHENIX Reporting

Location: Foley Studio

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Agents Dan and Nicole went into the studio this past Saturday to record Nicoles brothers band. They will be passing me the files to do a mix at my studio in the United States. I have trouble making amends with the fact that I am mixing a Canadian export, but they will bring in revenue to the States when they move here after becoming all-stars in America.

I will take their PTF Pro Tools 9 files and mix them in PTX. This will give me some extra tools to make it sound as true to their American rock and soul core as possible. They are looking to acheive a Pixies / Tame Impala sound. I'll throw some reverb on and try to get it to be as lo-fi as possible with some tape distortion and exciter processors, and as little compression as possible.

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Report back from the lab tests Tuesday. As much as I hate coming over the border to Canada to do these things, I came over to Ryerson and did some overdubs for "The Twilight Zone" with talent Kevin Kevin Konarzewski. I was rushed after being held up at customs and so forgot to check that the VU level was appropriate on his vocal, AND forgot to put EQ on his initial VO record channel and forgot to compress it AT ALL. Although his voice was recorded pretty evenly and didn't necessarily need compression, it could have been a bad thing if it had needed it. I did edit out some unrelated speech beforehand, and used his second playlist.

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#EDWINPHENIX Signing out.

22/11/2012

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