(no subject)
angel eyes recorded at electrical audio. it was great. greg norman is a great dude(i can't stress this enough, if you pay to record with him for one day just watch his studio demeanor, it's amazing). he's an ultra-nerd and knows that place like the back of his hand. his is an octopus too, touching eight things at once. and finally his troubleshooting is second to none. if it is broke he will and has to fix it. top fucking notch.
but then it's electrical. we had to wait for shellac to move their gear out of studio b(UGH SO TERRIBLE HAH). it was more hilarious than anything to see steve albini master recording asshole legend screaming about unprofessionalism and yelling at bob weston who was just laughing. the staff at electrical are all awesomely nice and it runs like a household more than a studio.
pictures here: http://picasaweb.google.com/rkonow/RecordingAtElectrical
if you need/want tags, ask. it's pretty self explanatory.
only downside, i didn't even get to record there. insert emoticon for sad. i wasn't bummed. i felt like i was wrangling everyone and i'm supremely content with that role. i could have setup in the control room with greg and not had any levels to the dudes and just played to the rough mix. but reocrding at his house will be great anyways. i'm going to use the rough mixes to actually program my parts and just lay them down. might do one without knob twiddles for a base structure and one with for extra girth.
it was an excellent proof of concept with the band. when i joined and we started talking about recording, electrical was on my spreadsheet(yes i'm a super nerd) as one hash mark for time and five dollar signs for cost. and the opposite was their old stand by as five time marks and no money. somehow we ended up at the most costly but greatest experience for everyone. if we would have done 3 days of recording, we would have finished. how amazing is that? DONE. in the studio your favorite record and drum sound was recorded in.
i have this issue with peers/derivatives and colleagues. it fits in my head. basically if you compare yourself to someone you aren't their lessor you are their peer and should be treated accordingly. so it infuriates me when bands shit on themselves about talent and whatever else bands fight about. you might not get the best shows, but if you play the nepotism game and kiss some ass you'll be there in less than a year. that part is just the trying part.
also my creative process has shifted. with the basement work and a roommate and my work with angel eyes coordinating this recording business, i'm basically a full time life coach. i took everyone aside and talked about what they wanted to accomplish and how they were feeling. i've never felt better when everyone was smiling ear to ear and basically living out a dream they never realized they had. (if i had that picture of ryan i'm pretty sure i could blackmail him with it).
i have a bunch of ideas for new projects and already have another recording session in the works for another record(have to finish this angel eyes record first). i knew i was like this, but never thought i'd pull the trigger and might be looking for people who i can just ask to play some songs i wrote. i tab out all my riffs so it'd be pretty easy to transcribe to whatever. i'm just terrible at drums and need a good drummer who can take my 'no less bouncy and more cha cha cha' and develop good beats to it.
also since we're on a label now i guess, we need to play shows. with everyone being grown up they are being lax on the touring aspect of it, but i think we'd be able to play some fests in the summer and do well. anyone have any insight on how to get on those besides sending in demos. does anyone get drunk with the coordinator of one of them and can drop names?
with that, a statement: angel eyes wants to play shows. if you want to do a weekend in the midwest or something, email us or msg me or something. we'll figure it out.
but then it's electrical. we had to wait for shellac to move their gear out of studio b(UGH SO TERRIBLE HAH). it was more hilarious than anything to see steve albini master recording asshole legend screaming about unprofessionalism and yelling at bob weston who was just laughing. the staff at electrical are all awesomely nice and it runs like a household more than a studio.
pictures here: http://picasaweb.google.com/rkonow/RecordingAtElectrical
if you need/want tags, ask. it's pretty self explanatory.
only downside, i didn't even get to record there. insert emoticon for sad. i wasn't bummed. i felt like i was wrangling everyone and i'm supremely content with that role. i could have setup in the control room with greg and not had any levels to the dudes and just played to the rough mix. but reocrding at his house will be great anyways. i'm going to use the rough mixes to actually program my parts and just lay them down. might do one without knob twiddles for a base structure and one with for extra girth.
it was an excellent proof of concept with the band. when i joined and we started talking about recording, electrical was on my spreadsheet(yes i'm a super nerd) as one hash mark for time and five dollar signs for cost. and the opposite was their old stand by as five time marks and no money. somehow we ended up at the most costly but greatest experience for everyone. if we would have done 3 days of recording, we would have finished. how amazing is that? DONE. in the studio your favorite record and drum sound was recorded in.
i have this issue with peers/derivatives and colleagues. it fits in my head. basically if you compare yourself to someone you aren't their lessor you are their peer and should be treated accordingly. so it infuriates me when bands shit on themselves about talent and whatever else bands fight about. you might not get the best shows, but if you play the nepotism game and kiss some ass you'll be there in less than a year. that part is just the trying part.
also my creative process has shifted. with the basement work and a roommate and my work with angel eyes coordinating this recording business, i'm basically a full time life coach. i took everyone aside and talked about what they wanted to accomplish and how they were feeling. i've never felt better when everyone was smiling ear to ear and basically living out a dream they never realized they had. (if i had that picture of ryan i'm pretty sure i could blackmail him with it).
i have a bunch of ideas for new projects and already have another recording session in the works for another record(have to finish this angel eyes record first). i knew i was like this, but never thought i'd pull the trigger and might be looking for people who i can just ask to play some songs i wrote. i tab out all my riffs so it'd be pretty easy to transcribe to whatever. i'm just terrible at drums and need a good drummer who can take my 'no less bouncy and more cha cha cha' and develop good beats to it.
also since we're on a label now i guess, we need to play shows. with everyone being grown up they are being lax on the touring aspect of it, but i think we'd be able to play some fests in the summer and do well. anyone have any insight on how to get on those besides sending in demos. does anyone get drunk with the coordinator of one of them and can drop names?
with that, a statement: angel eyes wants to play shows. if you want to do a weekend in the midwest or something, email us or msg me or something. we'll figure it out.