THE STORY OF THE SESSION, AS TOLD BY ENGINEER/PRODUCER BOB KETCHUM:
This album was unique in the recording process for several reasons, not the least which was due to the fact that
the studio was about to downsize and plans had been made to sell the studio's Soundcraft TS12 recording console.
At the beginning of the session, the console had been placed up for sale on the internet. For several months now
some session work had already been done in an experimental fashion using the computer as a recording system. For the
moment, only two tracks at a time could be recorded to the computer. However, several album projects had already been mixed
and mastered in the computer. One such session was the "Goldrush" project, originally recorded in 1977 on 24 track.
The master tracks had been converted to .WAV files and were mixed at Cedar Crest using Sony's ACID Pro 4.0
software.
Convinced that the future would be digital, the decision was made to downsize the studio and gear up to enable multitrack recording using the computer. However, the studio did not want to become known as a strictly digital recording studio, so in the near future the studio will have the capability to record up to 16 tracks of analog audio to a TASCAM MS16 1" deck with dbx noise reduction. Then, those analog tracks will be transferred over to the computer for additional tracking, sweetening, and mixing in the digital domain.
At the time the Janya Sable sessions began, the studio still relied completely on the analog 1" 24 track for multitracking, but the promise of augmenting the session with the ability to use loops, sequencing, and digital effects in mixing were too exciting not to dabble a bit in the digital toys. Most of the tracking on the Janya Sable session was done in the traditional analog manner with the 1" reel to reel tape deck, using dbx NR on Quantegy 996 tape. All of the regular audio processing was done in the conventional hardware manner for the most part. However, some aspects of digital recording were desirable so some of the tracks were either composed in Sony's ACID software on the PC and converted over to the 24 track, or the other way around, depending on the particular needs of the track.
Here now is a track by track analysis of the "My Way" album. You may click on the song title to hear a short clip of each song, in order to get an idea of what the descriptions are referring to. You will need RealPlayer to hear these clips:
1. Love Hurts - This is an original of Mark's. The basic tracks were recorded on analog 24 track machine. Acoustic percussion was recorded traditionally with the exception of timbales, which were played manually using Roland SPD-11 percussion module. Overdubbed vocals done in the computer with Sony's ACID. Brass hits are sampled using Ensonic Mirage and triggered by Bob using G&L guitar with MIDI pickup. The Smoking guitar solos by Mark were done using his Telecaster and a Peavey stereo chorus amp miked with an SM57. The funky rhythm guitar is a Strat recorded direct to tape through an ART Studio V3 MP tube pre amp. The synth pad was programmed by Bob and played by Mark on a Roland JX8P analog synthesizer. The "Love Hurts" echoes were created by Bob using ACID by cloning the original vocal and then spreading them out and digitally moving them around in the song. Mixed analog through Soundcraft TS-12 console with FAME automation.
2. Adrenaline - Recorded traditionally. This is the second take in the studio. Guitars, keyboard synths, and bass by Mark. Bob played all drums and percussion. The song intro features SPD-11 Power Toms tuned down one octave. The "heartbeats" are Power Kick tuned down one octave. Mixed analog through Soundcraft TS-12 console with FAME automation.
3. Forever - The music for this track was an idea that Mark presented to Janya at a writing session. She fleshed it out with her melody and lyrics. Bass, guitars, and keys by Mark. Bob on the Ludwig "Ringo Starr" kit. Percussion (timbales, bongos, congas) is electronic on SPD-11. Eggs played manually by Bob, miked with RODE "Classic" mic. Steel string acoustic solo's played by Mark. This was the first take on the initial tracking session. It just "felt right". The synth line was actually an afterthought, but fit so well it became the signature riff for the track.
4. Forgive Me - Composed and recorded entirely in the computer by Bob. A combination of drum and percussion samples and recorded tracks make up the song. The bass is an altered loop. Bob plays all guitars (Strat into Digitech GSP21 processor direct to computer). Janya sang all her vocal parts straight into the computer. The mike chain is: RODE "Classic" mic into ART MPA tube microphone preamp into DBX 160 limiter and straight to hard drive using ACID as recording and mixing software. Bob shifted all the verses around at the end to achieve the "waterfall effect" on vocals to the end.
5. Don't Say No - Basic tracks were recorded traditionally in the analog domain and then transferred to the computer. All guitars (steel string & electric) and bass were recorded to 24 track The organ was added using ACID to record to hard drive. The guitar solo was recorded in one pass while the basic tracks still resided on the 24 track. Cowbell was also added in ACID, as was the gong, which was a sample. The basic mix (less the organ, guitar solo and cowbell) was "pre-mixed" on the Soundcraft console. The additional tracks were then mixed to the analog stereo track and mastered. Janya does all the vocals.
6. You Can't Break This Spell - This track was originally composed and recorded in the computer. Later, it was moved over to two tracks in a stereo mix to the 24 track. First, a new drum track was played live over the mix by Bob. Then the "watery" rhythm guitar was recorded and played by Bob (Strat into GSP21). Mark added electric bass and the other guitars, followed by the synth lines. Bob played the electric guitar solo (Strat into Marshall preamp w/stomp box pedals). Finally, the Spanish guitar part was added as an afterthought by Mark on his classical acoustic guitar with nylon strings (referred to as the "Antonio Banderas" feel). The string part (played on the JX8P) was the last track to be added. In the end, the only thing from the original track that survived are the tom fills that fade out at the end of the song.
7. Not The Only One - Guitars, bass, and all keys including the string parts were played by Mark. Bob held down drum chores. All percussion was played live and the entire session was recorded in the traditional manner. The basic drum and guitar track was recorded on the first take. A video was also shot at the same time. At the end of the track Bob yells "Laaaaaaaaaaaaame!". He thought the basic track was so simple and so basic that it wouldn't fly, but after some additional tracking - especially the sub-bass parts added on the JX8P - the song shaped up and became a favorite of the trio. The strange riff between vocals and in the background is played by Bob on guitar. It is a sample of a length of plastic hose "whirled around the head" and played on MIDI guitar. Recorded traditionally in analog and mixed on the Soundcraft console with FAME automation.
8. I Don't Want To Live Without You - This is another one of Mark's songs. He played all guitars, bass, and keyboards. The strings were played on a Roland JX8P analog synth. Mark also sang background vocals. Bob played drums and the entire session was recorded live on the first take to 24 track analog. Mixed on the Soundcraft console with FAME automation.
9. My Way - This rocker was recorded very quickly using the 24 track. Mark played guitars & bass, and Bob played drums. The basic track was recorded on the second take. It was mixed and sent to the computer where the organ was added. The guitar solo was a fluke that was recorded as a test of the new computer's ability to record one track while playing the others. It was only meant to test the computer's latency, and the pre amp to the computer was completely overloaded by the guitar's hot input. On playback, Bob and Mark realized the guitar was a blazing solo and decided to keep it for the master despite the technical flaws. Janya recorded all her vocals in the computer. She sang the two lead vocal parts which Bob spread to the extreme left and right speakers. Nice effect.
10. Manifestation - Another first take wonder, this track wrote itself in thirty minutes. Bob played drums on the basic track (to analog) while Mark played guitar. Bass was added next (Fender J&P into a Peavey TBRaxx tube pre), followed by a series of several guitar overdubs (Strat played direct to tape through an ART Studio V3 DI) . Mark sings the background vocals. The keyboards were added after Janya did her vocals.
11. It Doesn't Bother Me Anymore - This is referred to as the "sleeper track". After the basic tracks were recorded, the song "spoke to us" and we added the dubbed Leslie guitar part played by Mark (using real Leslie's driven by a Crate Club 50 tube amp). Mark then discovered the great signature guitar riff which dominates the rhythm section. The bouncy feel was then enhanced by Bob's real percussion parts (cabasa, eggs, shaker) and then stacked with several tracks of electronic toms and a timbale part played by Bob on the SPD-11. Finally the organ was added to round it out. During the overdubbing Bob played with one of his Lexicon reverb's and selected a wild preset called "MPX Blue" just to stir things up a bit during a lull in the session. Janya loved the effect so much she insisted that effect be allowed to stay on the mix. Her mom Iryna sings the harmony parts.
12. The End - This track was actually one of the first ones recorded. It features lots of acoustic guitars and a couple of electric's recorded direct to tape - played by Mark, and real congas played by Bob. Mark also played bass. The keyboard parts were added much later after Janya did her vocals (in the first take). She doubled the lead vocal on the chorus'. And yes, that is a real wind chime at the end.
Send a Money Order of $12.00 plus $ 2.00 S&H to:
"My Way"
Hype Records
#17 CR 830
HENDERSON, ARKANSAS 72544
Email Janya Sable at:
[email protected]
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