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Happy record store day everybody! Here's a quick link to a video of one of my favourite record store memories. I was about 15-16, visiting Birmingham, Alabama and me and my dad went exploring. We found - in between visits to a comic book store and a Johnny Rockets diner (both were completely alien and utterly thrilling to me) - we ended up going upstairs into Charlemagne Records. We spent hours looking through records, taking them over to a sofa and putting them on a couple of turntables with headphones for us to zone out on.

I remember the staff being so friendly, giving us t-shirts and discounts after it became apparent we were going to head in there every day of our trip and spend time and money. Their country section was amazing - One of the reasons for our journey in Alabama was to go north to the Country Music Hall of Fame Museum and try and find the graves of The Louvin Brothers.

Anyway, that's probably my first memory of actually falling in love with a record store. When they're done well, they're some of the most spiritual places on earth and I hate the idea that one day we might be without them. If you didn't manage to get to one today then try and make it your mission to get to one this week and pick up a new best friend (or record, if you will).

Charlemagne Records on Vimeo

This week we underwent a major overhaul of our recording system. The reasons for this are numerous - our old Mac Pro was starting to show it's age (even though we were on a HD3 system stuffed with DSP's for running plugins and mixer), Avid have just announced that the next Pro Tools software update will no longer support our HD cards or 192io audio interfaces and the ongoing march of native processing now offers a realistic alternative to DSP performance in terms of both plugin capability and audio latency. Another bonus is the fact that native plugins tend to be cheaper than their TDM counterparts. In fact, this upgrade is largely in the name of long term savings. As native processing progresses, the requirements of our clients stay largely static. We are at the stage where track counts are unlikely to increase dramatically for bands. We already work with sessions containing over 100 tracks and can take liberties using multiple microphones on guitar cabs and drums, adding various ambient microphones when tracking and comping the varying levels of vocal parts across numerous channels. We rarely run low on effects plugins and if we do, we simply bounce a few tracks down - at the end of a mix, it's unlikely you'll be changing that organ sound that you arrived at during the first day of recording.

Essentially, how much more power are we likely to need?

Going native and ditching the extra power afforded by TDM was still a risk so rather than place all of our eggs in one CPU we did decide to take some load off the computer by adding a UAD2 Quad Omni card (more on this later). So the new system looks like this:

• Mac Pro, Quad Core 2.8Ghz, 24gb RAM
• Pro Tools HD Native
• UAD2 Quad card with Omni plugin pack
• 2 x Avid HD 8in 8out audio interfaces
• Expansion card adding an extra 8 analog inputs to one of the audio interfaces

The reasons for this configuration are as follows:

Mac Pro

We opted for the 'entry level' quad core in the interests of price vs performance. The faster buss & RAM speeds coupled with a larger cache than previous quad core machines means that in benchmarks they clock in very well. I have also wanted a UAD2 since trying one over at White Town's studio so it seemed to make more sense to put the money into processing on the UAD2 rather than on a higher spec Mac. The massive 24gb RAM was installed in order to take advantage of future versions of Pro Tools that will be 64bit and able to address much larger amounts of RAM. The new Pro Tools 10 can already cache session audio into RAM, allowing for snappier performance and removing speed requirements for project drives - i.e. it is now possible to mix a session straight from a thumb drive!

Pro Tools HD Native Core

The Native HD card provides a small amount of DSP processing power to take a load off the native CPU and guarantee certain levels of performance in terms of track counts, latency and delay compensation. I would stick my neck out and say that nowadays, for anyone but the largest studios or for those doing big post production projects, HDX is probably overkill. The only caveat in this is latency when recording. Although the latency when tracking without complex routing and effects is virtually indistinguishable from that afforded by TDM systems, this will ramp up somewhat and pose problems if extra recording is deemed necessary in the latter stages of a large mix. Of course, the solution to this is simple - do a rough bounce of the mix and record to that in a new session, then import the new recordings back into the mix. This amounts to around 5 minutes of work bouncing a rough mix and setting up a new tracking session. It also saves you a few thousand pounds on a HDX system. Well done those economists amongst you.

UAD2 Quad Omni Bundle

This is quite possibly the best sounding marriage of plugins and processing power that I have yet heard. I won't claim to have past experience of all of the processors that are emulated here but their authenticity is irrelevant (although I can say the tape machines, Moog filter, Roland Space Echo and a few others that I have used are pretty spot on) as they sound fantastic, feel responsive and ooze character. There are many favourable reviews of the UAD2 systems so I'm not going to repeat those, suffice to say that I love it. It's probably the best piece of processing equipment I've found when considering quality and price. Not that it's cheap as such, just worth every penny.

Audio Interfaces

As we are working 'In the box' for the foreseeable future, we decided that there was no point in using three interfaces anymore. We still need up to 24 inputs occasionally but never 24 outputs. Therefore we down sized to two interfaces with an expansion card in one to give an extra 8 analog inputs. The new HD i/o interfaces also feature the 'Curv' soft limiter on each input which I'm interested to try although as a rule I never track hot signals to the converters. Might be good for an effect or as a safety for sources with wide dynamic range though.

Initial conclusions

We've now been working for a few days with the new setup and so far I've been blown away by each component. Upon opening a huge mix that we'd been working on previously to the point where it could barely play back, we found that we had CPU cycles to spare and RAM caching made playback instantaneous. The converters in the audio interfaces sound slightly 'fresher' and much clearer to my ears. It's not exactly a 'night & day' difference from the old 192's - which are still fantastic converters - but it is a welcome improvement. The UAD2 adds an extra cache of processing power but also a quality of sound across all of it's plugins that I've simply not found elsewhere. Everything feels more responsive and less linear. Driving inputs sounds as one would expect and many plugs have hidden controls to properly (or improperly) gain stage them or control extra functions not found in the original hardware.

It feels good to get off the Pro Tools TDM wagon. This was a major upgrade for us to undertake in the name of future compatibility really. Rather than having to get a new HDX system or equivalent in the future, I'm much happier to simply update to a new computer. DSP processing is a great addition to our system but in the grander scheme of things, it's an obsolete technology. Native processing will outgrow our requirements within the next few years and having a reliable, low maintenance, expandable recording system is a must to allow us to provide a service that keeps pace with clients expectations and allows us to be creative without restriction.

Just a quick shout to wish all of our clients and friends a happy new year. We hope you had a great christmas too, obviously. Here's a new video that LostAlone put together for their cover of Darlene Love's All Alone On Christmas which they recorded with us (and Youtube sound later mangles but you get the picture). I hope it communicates our festive love to all of you.

It's been another fantastic year for us working with some amazing people, getting involved with really diverse projects and most importantly feeling happier than ever with the noise coming out of the studio. One of the nicest things in recent weeks has been seeing bands we've worked with like Papayér, Crash Of Rhinos and Emphemetry turning up on a load of end of year 'Best Of' lists. Hopefully there's more that have been making an impression this year, just lob us an email and let us know what you've been up to - we like our virtual postcards this time of year.

And so on to our own 2011 Top Albums list. I've put together a Spotify playlist at the end of this list featuring almost all of the albums that made my 2011 a much more musically satisfying one. Any artists not on Spotify have had links added to them so you can chase them up yourselves.

If 2012 is anywhere near as good then I'll be a happy boy. This list is in no particular order as that would be far too difficult.

Death Cab - Codes and Keys

Baths - Pop Music/False B-Sides

Chilly Gonzales - The Unspeakable Chilly Gonzales

Army Navy - The Last Place

Spank Rock - Everything Is Boring and Everyone Is a Fucking Liar

Into It. Over It. - Proper

MC Esoteric - Boston Pharaoh

Standard Fare - Out Of Sight, Out Of Town

Com Truise - Galactic Melt

Destroyer - Kaputt

Parts & Labor - Constant Future

Siskiyou - Keep Away The Dead

Half Man Half Biscuit - 90 Bisodol (Crimond)

Jim Guthrie - Sword & Sworcery LP - Ballad Of The Space Babies

Ochre - Early Learning

Serengeti - Family & Friends

Royal Bangs - Flux Outside

Crash Of Rhinos - Distal

Emphemetry - A Lullaby Hum For Tired Streets

White Town - Monopole

Low - C'mon

Nils Frahm - Felt

Cut Copy - Zonoscope

The Decemberists - The King Is Dead

The Pains Of Being Pure At Heart - Belong

Roots Manuva - 4Everevolution

Vessels - Helioscope

Breathe Owl Breathe - Magic Central

Mallard The Wonderdog - Pops His Clogs

13 & God - Own Your Ghost

The Bigger Lovers - How I Learned To Stop Worrying

Los Campesinos! - Hello Sadness

Russian Circles - Empros

Yelle - Safari Disco Club

Zola Jesus - Conatus

Childish Gambino - Camp

Gruff Rhys - Hotel Shampoo

Laura Veirs - Tumble Bee

M83 - Hurry Up, We're Dreaming!

Other Lives - Tamer Animals

Slow Club - Paradise

David Gibb - There Are Birds In My Garden

Wye Oak - Civilian

Cheap Jazz - The Shape Of Fun To Come

Listener - Wooden Heart

Plaid - Scintilli

Tim Hecker - Dropped Pianos

Listen to it all via Spotify HERE

Happy New Year

Rob x

By Honorata Pomykala

 

With a great chance to win the contest and hit the European stages, Lighthouse Project, a pop/rock band from Derby, reached the semi-finals of the competition organized by Ocko Tv, the biggest Czech music channel.

 

Last Sunday the band shot their new live video to Anything I am in Number Five jazz bar in Derby. Stephen Rouse, its manager well-known for his passion for music, was glad to make his place available for the project.

 

Lighthouse’s previous video, Make it go away, was produced by Paul Music Production and the music for the same song was recorded in Snug Studio in Derby. Both were highly appraised by judges of the Ocko channel. They selected the band, together with 29 others, out of thousands of applications for the contest.

 

The Czech competition for unsigned bands started earlier this year with a battle of three bands each month. The audience had to vote and choose the best video each time. Lighthouse Project collected the highest number of votes in April and together with nine other bands qualified to the next stage.

 

Everything depends on the audience again. Between 27^th October – 1^st November the listeners from around the world can vote for the band, to give them a chance to perform during the National Music Awards ceremony on 16^th November.

 

To vote for the band visit http://ocko.idnes.cz/vytah.aspx, click on ‘Hlasovat’ next to the band’s name and then enter tha captcha. More instructions on how to vote and support Lighthouse Project will follow on their official facebook page. To unlock new content, including videos, pictures and other attractions, go to www.facebook.com/lhproject. To watch Make it go away video visithttp://youtu.be/YyHgLaUCI3w.

 

Since 2009, Lighthouse Project have been persuing their goal of success in the music industry. After getting to the area finals of the competition Live and Unsigned with a chance to win a £10,000 music contract, touring in cities like Sheffield, London, Liverpool or Nottingham, taking part in various festivals, including Ynot Festival in 2010 and 2011, now it is their big chance to shine in central Europe.

 

The members of the band, Anna Brozyna and Jan Tuma, agree they want to add a taste of uniqueness into their music by cooperating with artists from around the world.

 

“We’re working with many people – Chech producer, South African Dj and many other local musicians. Collaborations with other artists give us great new experiences and help to create something special,” they said.

 

 

 

New video teaser: http://youtu.be/l74QYemn5G8

It seems that all I'm updating people on at the moment is video news! It's coming both thick and also fast. We have been incredible busy working with fantastic bands who I'm sure I'll be posting about as soon as they're out in the wild.

But for now, the news is Twinklebox. Twinklebox is part of Aaron Bradbury's ongoing Music Box Chronicles which feature a rusted, old musicbox telling musical stories with his teeth. It's an animated piece that focuses on the relationship between sounds, music, imagery and time. We were priveliged to work with Aaron and composer Richard Birkin on this project. It's been a joy from start to finish.

Head over to www.luniere.com for more details on the project and click below to feast your senses.

Firstly, the film (along with another of Owen's called 'The Pack') has been picked up for distribution by Shorts International. They'll be working to push the films exposure to both the public and wider industry. Great stuff.

Secondly, some feedback from the Moseley Cut Festival. Both shorts have been invited to the Birmingham Arts Fest (UK's biggest arts festival!) off the back of the screenings. That's to be held in September (10th & 11th, screening times not confirmed yet). This bit of feedback from the organiser of the festival is also great:

I also wanted to ask for your permission to screen The Pack and All that Glitters at a screening for Art and Design students in September which will be showing selected highlights from the cut 2011. I thought both the films were beautifully shot, acted, edited and the sound elements were brilliant, so it would be great to show them to as many folks as possible...

Finally, All That Glitters has also been invited to screen at the Wirksworth festival in August. More details as they come.

So there you go, well done Owen!

Hello all

A small tidbit of news to sling your way. A macabre short film by the rather excellent Owen Tooth with sound design performed at Snug is going to be doing the rounds at The Cut Festival in Moseley (Birmingham) over the next few weeks. If you get time and are in the area then pop along and catch one of the screenings.

All That Glitters is playing:

Sat 9th, 2.30pm

Sun 10th, 2.30pm

Sat 16th, 12.30pm

Sun 17th, 12.30pm (In Owen's words - "This is listed as the 'Kids Films' selection especially for children to watch, so I'm a little concerned there may be tears in the auditorium...")

Also showing on the 17th at 2:30pm is another of Owen's films - The Pack

Location: The Prince of Wales, 118 Alcester Rd, B13 8EE

For more info, head over to:

http://thecut2011.blogspot.com/

http://www.moseleyfestival.org.uk/

The term 'industry standard' when applied to recorded music is a total bugbear of mine - here I'm going to explain why I care and why you as a musician/engineer/listener should too.

Here I should clarify about the use of the term that makes me foam at the gills. 'Industry Standard' is just another in a long line of recitations that are regularly wheeled out to tell musicians that they aren't good enough - and it works! Even now, when DIY releasing is easier than ever, I see so many bands who never put out any of their music. Sure, some of them get it recorded and maybe one or two tracks will see their way to a Myspace page or onto Soundcloud but there are still a hell of a lot of artists waiting for permission to release music. By permission I really mean validation - a record label to decide if it will sell and therefore if it's any good. Since when did one company (or indeed individual A&R at said bastion of taste) decide what universally makes music likeable? More to the point, why do the rest of us describe recordings on their terms?

Don't get me wrong, musicians need criticism and feedback but the only sources you need it from are yourself and your fans. The industry standard is something that doesn't concern you unless you're dealing with the kind of industry that uses the term - i.e. people that like selling music more than they like listening to it. You want your recordings to sound great? Fine, but make sure it's by your standards (more on their standards later in this post).

Unfortunately though, this term isn't used exclusively by Artie Fufkin of Polymer records or the legion of coke-addled, slick-haired yuppies that are the cheap target of every independent music nut (like me) when we want to complain about 'the majors'. It's used by people like me.

Studios, mastering engineers, producers, battle of the bands promoters, etc, etc... we're guilty in worse ways than 'the industry'. Just google "industry standard recording", it's all studios advertising and people asking about what equipment they need to attain this mystical standard. At this point I must hold my hands up and say I'm almost sure I've used this term before, trying to 'play the professional' in my early years as an engineer. This post isn't intended to be a dig at those who do use this turn of phrase, just a plea to consider the ramifications of the language and terminology we as professionals use to speak to our clients. We've been mis-selling a term that shouldn't apply to them in my opinion. At least it's in the traditional industry's interests to maintain the impression that there is a standard that all others can only aspire to without their resources (read money), but I would have hoped that we - the people who make the lions share of the real and democratic music scene actually happen - could rise above perpetuating a term that reinforces the idea that unless you sound a certain way, you're not a real musician. If you are a musician and someone uses that term then I believe you have every right to take offense. You know what good recordings sound like, all you need is someone with the right equipment and knowledge to achieve the sound you want.

How does it make sense for any studio/individual/microphone/hair product to claim that they can help an artist achieve an 'industry standard'? It's meaningless in the first place. What does an industry standard recording sound like?

More info on 'The Loudness War' is available via the Wikipedia Entry

My rounding off for this rant is just to ask that we all stop aspiring to this fictional world of 'playing with the big boys' and just let the industry standard disappear from our biographies, our sales patter and our aspirations as artists. It's vulgar, it patronises musicians, effects their output and we all deserve better than that, especially our fans.

I'd love to hear other opinions on this so feel free to add some thoughts in the comments.

Rob