A Few Things, Late Summer 2014
2011:: The Shepherds: Civil War EP
I was reminded recently of an EP I recorded by my friends Douglas and Brooke Shepherd a few years ago. I loved working on this record, and really digging into the production side of the songs, these two in particular:
7.14:: Peter Broderick/Gabriel Saloman split 12″
Beacon Sound‘s first vinyl release is finally out! Commissioned by Andrew at Beacon Sound, and a first-time collaboration between these two artists, this was initially a set of improvisations together. I tracked it at Type Foundry just following the Beacon Sound Weekender mini-festival last October. Peter and Gabriel took the tracks home and added/edited/re-envisioned to make one side each. What came out is a beautiful record, inside and out. Keep an eye on this store and label – there are some very exciting projects in the works, part of which is a re-opening on Mississippi Ave, in Portland, with much more space, and an art gallery in back.
8.14:: Pickathon 2014
This year was my third working for Pickathon. What began as live broadcast mixing for one stage has turned into co-running the recording and broadcast mixing for the entire festival. We had an amazing crew of people working for us this year: local recording engineers Pat Kearns, Sean Flora and Josh Powell, live engineers Saaela Abrams, Ethan Pierce and Jeff Simmons, and mic-maker Chris Johnson.
The festival has been getting a lot of press this last year, much deserved because of its small, intimate size, chilled out atmosphere, focus on sustainability, and well-curated lineups. It makes for a truly unique experience, and for one of the best festivals around. I’m so happy to be part of it.
Some of what people have to say/show about Pickathon 2014 ::
8.14:: Catherine Lee/Matt Hannafin Oboe and Percussion
I went down to Salem and did some recording in the concert hall at Williamette University with oboeist Catherine Lee and percussionist Matt Hannafin. They did a series of improvisations, some of which included them moving around the room while playing. The room was amazing – open, large, with a beautiful natural reverb – it sounded just like the reverb in old soundtrack music. We recorded to Pro Tools on my laptop using a True Precision 8 preamp, Apogee Enemble convertor. There were two condensors hung above the stage that I ended up using, along with a spaced pair of borrowed Josephson C617’s (with Microtech/Gefell 221 omni capsules) further back in the room. An AKG C414 was a few feet from the oboe for detail, an omni pair of Octava MC012 mics were over the percussion, and a Shure SM81 was under the tom acting as a bass drum. Mics at different distances like this allow for control over the roominess of the mix, and a balance between that and a closer, detailed sound. It was such a pleasure to work with these musicians in this space.
8.14:: Terminal Orchestra
While visiting Upper Michigan, I did some overdubs for my friend Jesse and his project, Terminal Orchestra. We started tracking this record over the course of a cold, cold weekend back in October in a church deep in rural Upper Michigan.
For this session, Jesse called up 8 of the players from Marquette string ensemble Eclettico to add to some of the songs on the record. We did the recording at Northern Michigan University’s Devos Art Museum, a spacious room with great acoustics, surrounded by art.
Here’s a little taste of his last record, which I did some overdubs on, and helped with some mixing: