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Author Topic: Storm and Stress  (Read 1187 times)


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Storm and Stress
« on: December 17, 2005, 01:29:21 pm »

  One of my favorite records is the first Storm and Stress record. I think the recording is great, especially when you consider the free form nature of that band.
  When I first heard the record I just assumed it was all improv and freeform, and you, basically, as an engineer must have placed microphones as best you could and then just hoped you caught what they did. Then I saw them live, and it seemed to me they had a way of communicating to each other and that parts of the performance were written. Did you get a chance to know what they were going to do and then mic for it. To be more specific, I know the drummer likes to drag things across the rim of the snare, did you mic for the snare and then stop and add extra mics that would capture a "dragging" sound. As a fan of the band and an apprenticing engineer, I could just be way over thinking this. It could be that it was the easiest session ever, and it was done waiting for the pizza guy.
  how tricky was it to record them? Could you go into some details about how you approached that band from an engineers point of view?



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Re: Storm and Stress
« Reply #1 on: December 17, 2005, 01:37:22 pm »

I'd also like to know some specifics about this. My band writes music that is similar, and this recording really fascinates me.

It sounds like an M-S pair or a Blumlien Pair in front of the drums, a mic for the guitar, a mic for the bass, a mic for Ian's vocals and everyone playing in the same room without much isolation or headphones. A couple of tape edits here and there (beginning of second song, for instance).

He probably got everything sounding decent, hit record and play at the same time and let them do their thing.  


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Re: Storm and Stress
« Reply #2 on: December 19, 2005, 02:11:28 pm »

I'd be curious too. We played several shows with them and to be honest most of their material although labeled improv was more thematic like Jazz.

They had good and bad nights. I imagine getting them in the staring gate quickly, setting the mood(or neutral)and getting the band sounding great in the room so they could communicate were the more important parts of the session rather than the mic technique.

I speculate having witnessed them several times live.
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