sábado, abril 19, 2008

ARTICULO ESCRITO POR DAN BRONELL (EVERGREY).

Este artículo fue enviado por el grupo Evergrey de forma personal y en exclusiva para la Revista Cultural Atis&NYD. Este artículo publicado nos habla sobre cómo fue la grabación de su trabajo ”Solitude * Dominance * Tragedy”, y está aquí incluido de forma íntegra. Sinceramente agradecerles este gran detalle que tuvieron conmigo y con la revista.

Making of the ”Solitude * Dominance * Tragedy” CD
Story by Dan Bronell


EVERGREY entered Los Angered Recordings for the second time in February the 15th ´99 at 10 A.M. Andy welcomed us with a big smile and newly brewed coffee, that first cup keept us awake for a week, man was it strong, but we needed it. We had been at it since 0700 hours with packing and driving til and from the studio with the equipment.
The first day went to the ”pre-recording” and the organization of the whole studio event, which day the recording of the next instrument would take place.

- Installing the drums and setting the sound.

- Preparation of the keyboards and ”clicktrack”. Due to all the keyboard parts we used a recorded beat that guided us (or mostly Patrick cause we record most of the other stuff based upon his work) through each song. The ”keys” were not recorded first due to the lack of channels, thay were just playing along on an open channel. We were presented with a great problem when doing all this because we had first to record a time signature on the analog tape recorder. Just so we could ”sync” the digital with the analog. That procedure went by fairly painless, except some minor technical problems. But than the problem arised. The f*****g keybords would not ”grabb” on to the signature. We tried everything including turning the studio inside out. After 6 hours of problem solving and on the verge to suicide, we were going through the system for the final time, and we are talking about hundreds of cords,inputs & outputs, severel computer programs, phone-calls to experts, 5 gallons of coffee and the actions that followed after that **hmmppff**. So, in a tiny corner in one of the software programs, there´s a seemingly insignificant button in one of the sub-diretories that read ON and OFF....

- Support guitars. Just pluged in guitars with minor sound settings and record them to each song so Patrick has some sort of melody to play to and makes us aware of how it will sound in the end. That gives plenty of time for last minute changes.

On the following morning after each day we´d listen to the last recorded thing to determind if we should proceed or if we had to re-make it.

This is how the days turned out


February 15th:
Setting sounds and wrestling with the computers.

16th-18th:
Drums

Finished the drum sound and started in the late afternoon. Patrick recorded eight of the songs during theese two days. The last one ”Words mean nothing” had to wait a couple of weeks because the song differed in settings so much.

19th-27th:
Guitars

We record the guitars previous to the bass because it´s easier to set the right amount of base to the recording and not least the bass later on. Each rythm guitar were recorded two times to get that extra thickness to the sound. We added the solos and some of the melody lines in between the vocal sessions. That to save time because not all of the solos were made and to save Toms voice. 8 hours a day strains the vocal cords a great deal.

28th:
Bass-guitar

Daniel entered the studio, tuned the bass, recorded the songs and left. All in one day.

March 1-18th:
Vocals/Backing vocals/Choir/Intros

Tom normally sang two days in a row and than rested his voice on the third day. On the vocal off days we recorded the solos and arranged the intros. Some of the lyrics Tom wrote as he sang. Almost anyway. Some songs were not finished as far as the lyrics was concerned. So it was pretty fun to do the remaining in the studio. Everybody shouting and screaming. ”That phrase was good, no that was better”, and so on.

Vocals is probably the hardest thing to record in the studio. No tuner to rely upon, you just have your hearing on top at all times, both the vocalist and who ever else is helping with the recording.

4th:
Violin/Stuart Wyatt

First off, Patrick finally recorded ”Words mean nothing”. The drumkit had been standing put in the R-room. It´s not the biggest room in the world, so when he had done the recording we could at last, get rid of the drums once and for all. They caused problems from time to time during the recording of the other things.

Stuart arrived at noon, tired ´cause he had been up all night writing on his biography to his website. A bit nervous too because he had no idea on what to play. We explained how we wanted it and he did it. He told us it was a bit difficult to play to the clicktrack, but he got the hang of it pretty fast. He´s a highly skilled violinist, but he had never recorded in such manners as ours. He was used to live-recordings.


8th:
Erik Ask/Harp

When we picked up Erik he brought his harp with him. We thought that it was pretty big but he told us that it was only medium-sized. Ok, medium-sized. 4´ feet high. How tall was a big harp???. As Tom and Dan are users of string instruments they both were pretty on to how to play the harp. There´s a whole lot of strings there. Erik

16th:
Mercury-choir

A happy and cheerful group of people entered the studio at 0800 hours **gasp**. This day was filled with laughs and bad jokes mostly bad jokes... The choir consisted of females in the ages between 18 to 30. It was an interesting and fun experiance.

19th-24th:
Mix down
We mixed two songs a day. Now was the time for the creation of the sound enviroment. Some last adjustments to each instrument. Then we listened and listened. Raised the level on the drums and lowered the guitars and raised a keyboard passage and so on. Now we recorded the keyboards over the clicktrack on to four channels.

April 19th:
Mastering at Digital Fabriken

The Cover
We discussed what we should have on the cover a great deal. But we couldn´t agree on a specific cover so we presented our ides to Kristian Whålin and pretty much gave him free hands to do what ever he wished to do. We, I can say, were very pleased with the result. Exactly what we had visioned but couldn´t put to words.

Than we sat down for some days with Durling and created a layout that meet our demands. He, as Kristian, got free hands to the artistic aspect of creation.

Dan Bronell

Lux_Atman
Artículo Nº: 279
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