This is going to be an early update, because there’s no way I’m going to update during the Mets game, and if I wait until after the game, I could be really depressed (should they lose). So, enjoy this “brunch edition” of Cmaj/Em.
I’m reading this month’s issue of Tape-Op and there’s an incredible interview with Deerhoof about their recording process. I can’t even really describe all the cool things it says, you should really seek out the magazine. I’ll just quote Chris when he said (about recording guitars on the song “Milk Man”), “I’m not a very good guitar player, and I can’t keep perfect pressure, and we wanted each note to be perfect and ringing, so we recorded every chord separately. I loved it – I really liked breaking it down into these small pieces that were totally manageable. There wasn’t the pressure of having to get one perfect take with the perfect feel…every single moment had the perfect feel – it was the perfect artificial performance. We’d have to re-tune for every chord, too. The intonation on my guitar was not too good, so we’d re-tune for every chord.” (!!!)
You can subscribe to Tape-Op free, but I think your first issue would be the next one if you were to sign-up today. A lot of the interviews are with old crusty dudes about things I can’t really comprehend, but everyone once and a while I’m shocked by something cool and unexpected. Most of the recording knowledge I culled from working at Water Music pertained to microphone placement, or recording to tape, so the chance to learn something new about digital recording, or live mixing from an awesome band has me really stoked.
– I don’t know whose website this is, but they have beautiful recordings of every band’s performance from Terrastock 2006 in Providence from Acid Mother’s Temple, Bardo Pond, Charalambides, Landing, Lightning Bolt, Matt Valentine and Erika Elder, P.G. Six, Spires That In The Sunset Rise, Tanakh, and Windy & Carl and more! Thank you, whoever you are.
