Behind The Scenes Recording Christina Crofts Band LIVE at Damien Gerard Studios Sydney

A Behind The Scenes video of The Christina Crofts Band recording LIVE at Damien Gerard Recording Studios Sydney. Saturday 10-6-17 

Shot and Edited by Caleb Montgomery

Crew On The Night:

Recording Engineer ..... Andrew Beck

LIVE Sound .........  Marshall Cullen

Video and Lighting …... Peter & Caleb Montgomery

Christina Crofts on facebook:

If you have an enquiry or would like to book some time at Damien Gerard Recording Studios Sydney click >>>

Studio News September 2017


Message From The Boss

Live Tour Management/Front of House shows in September saw a couple of great one off's. Firstly with The Divinyls 3 original members Rick Grossman, Mark Mcentee and Richard Harveyjoined onstage by Izzi and Jack from The Preatures to pay homage to the tunes at the closing night of the Perth Fashion Festival. Izzi did the vocals proud and it was so good hearing the tunes live once again.The following biggy was the mighty Ball Park Music(pic) playing to their home crowd headlining the Beer N Cider Fest at Brisbane Showgrounds.Naturally the punters sang every song and at times i was having trouble working out exactly where all the vocal level was coming from!! Finally as i am sure you know one of the great inspirations has gone- so i just gotta say -  RIP Tom Petty - and i can highly recommend the Doco on Netflix - well worth the 3 hours.
Marshall Cullen ~ Director

Two for One Deals are back
After a very busy time of constant lock outs we have some gaps coming up so we can help out newsletter subscribers only with the ever popular 2 for 1 deals.
There's only a few spots here and there in October/November so be quick.

Let us know asap so you don't miss out. email  This email address is being protected from spambots. You need JavaScript enabled to view it.
or simply reply to this email.


Session Highlights

The Mighty Rusty(pic) has been mixing like a demon most of the month with artists such as
Yhan Leal (Album), Hoodoo Gurus(live materiel), Shayana Band(Tas-Album), Adam Jones(Album)

Other sessions have included Rose Carleo Band(Tracking and mixing), Love Drunk Hearts (Tracking), Medusas Wake(Transfers), Enticer(Drum Edits), The Kids(vocal edits). Larry Leach(Transfers)

Tip Of The Week - Documentation

This one just came up recently and the band shall remain nameless but it highlights a very important point - proper documentation .Now this was a key job in the days of tape based recording and it was often the "Tape Op' or Studio assistant's job to Log Everything on track sheets and most importantly the artist and session on the tape reel and box itself. We were booked for a bake and transfer of some 2", the band brought in a Reel and Box which was completely unmarked! Russ "Are you guys sure this is your tape?' Band "Absolutely, we've been carrying this around from house to house since 1980, its our 9 song album which we never had time to mix, but now we do."
1 week later after baking Russ pops it on the MCI - "hmm - its 30ips - and theres only 2 songs!!" (it would need to be 15ips to fit 9 songs)- He calls them"ah guys....?" Band"OH, well er um...can you play us these 2 songs over speaker phone so we know which ones they are-must be the singles....?Russ"Sure you go..."
Band"long silence ....Oh, Oh F###%%% - THATS NOT US!!!"

Now days even in the digital world proper file management, labelling of HD's, naming files and folders correctly is crucial so go to it!

Mastering and Red Stairs HIghlights

Andrew Beck's recent master of Yhan Leal's 'Up On The Mountain' single was premiered on Triple J earlier this week

 Triple j radio premiere: 

King Willy Bowden is busy as ever with the end of year lead up and has been tweaking his dials for John Williamson, The Sheyana Band(album), Perth Legends The Stems (Remaster), Fanny Lumsden(topping the Country Charts) and Winston Surfshirt 

Peter Holz has been busy recording a fabulous session with Living Guitar Legend Tommy Emmanuel(pic), as well as People Watching People and with more work forAaron Beri and Joel Leffler(with his new single Auburn Hair recently added to Mood Media),

For any Mastering Bookings just reply to this email or use  This email address is being protected from spambots. You need JavaScript enabled to view it.

New Backline and Instruments

As well as the new in house kit theres a bunch of NEW amps, synths and guitars available for sessions as well.
the list here

For ALL Studio and Mastering bookings and Enquiries  contact  This email address is being protected from spambots. You need JavaScript enabled to view it.

Rusty's Tip Of The Week #10 -Monitoring

Tip #10 How can you trust what you are hearing.....

Another endless topic thats become even more confusing now that so much music is listened to on nothing more than iphone earbuds.

Common sense and best practice audio are the best places to start i have always found.

You will have noticed that so many pics of control rooms the world over still seem to have those smallish rectangular speakers with the white woofer- The Yamaha NS10 - and there's a very good reason  - consistency.

Certainly in the hey day engineers and producers could jetset about the globe and be fairly sure that there would be some monitor speakers they had used countless times before at every studio they worked at. (-ed - "Even the very first DG's control room c1985 - see pic- saw to it that probably the most notable piece of kit it had at the time was NS10's so that producers coming in to do demos(yes done at real studios back in the day) had monitors they were used to.")

This is very important and beats super quality every time because as an engineer especially when tracking you are often listening to tracks individually, not as a mix and having a consistent reference that every time you dial up the kick drum you know how it should sound, and likewise for all the other basic instruments.

Of course monitors can be a personal preference and many engineers carry their own from studio to studio. for the same reasons as above.

The reason NS10's are good for this is they are only average quality and quite mid range sounding (sometimes they are run with a sub for electro music for eg) so it stands to reason that if it sounds good on them it will sound even better on higher quality speakers.
 Theres also something about them that engineers recognized years ago that the way the box works frequency wise  is very helpful in balancing parts together especially vocals .

Of course today the list of Nearfield Monitors is endless. Nearfield becoming the main preference because in theory because of their smaller nature to 'mains' they are much less affected by the acoustics of the room, so if you are basically within 2meteres of them, roughly on axis, they will sound very similar from place to place. this is of course very popular for home studios wheres theres little or no tuning done at all. Plus they are nearly always self powered now so the internal amp is well matched to the drivers, whereas NS10's will need a separate amp.

The way i would evaluate monitors is to set them up where you will be most using them, then play a combination of single tracks such as kick, snare, bass, guitar, vocals, piano
and then play your favourite fully mixed and mastered tunes that you are used to hearing all the time and think about how accurately the speakers recreate the sonic in your head
you associate the way the solo tracks and the songs with, so picking some songs you have heard 1000's of times is a good idea. You dont need to worry about any fancy acoustic theory, set them up where you will be working , move them around and use your ears.

You dont want anything too bassy or hifi sounding either because then you may tend to under do the bass side, or not hear parts that have been "smoothed out"a lot by the nature of the monitors. Thats why the slightly gnarly unported (less bass) NS10's are such a benchmark.

Worrying about how your mix will sound on lots of different monitors(and now days earbuds) is best left to mastering engineers but its certainly a good idea now days to listen on headphones and ear buds to see if theres anything sounding horribly wrong, and the same if you do have a second set of speakers, prefarable larger and more bassy than the nearfileds. A good set of professional studio cans you trust and use a lot is of course important as well, but they won't give as true a representation of how it soudns in a room with some air around it and again thats why good consistent monitoring is essential.  Then there is always the car stereo , never to be underestimated and worth burning a cd if it doesnt have an aux input.

Russell Pilling has been listening to NS10's(with a sub since 2002) KRK,  JBL, Klipsch, Genelec and many more big and small monitors for about 30 years.

Rusty Tip of The Week #11 -Plugins

Rusty's Tip of the Week - The Truth About Plugins

Now don't get me wrong , i love plugins and use them extensively when mixing, even though i run back through an analog board as well. But it's important to understand the nature of them as well. The first most important thing is that they are obviously in the digital realm so unlike their analog originals they DO NOT like to be overloaded. The second and very important tip for is that just inserting them on a 'track' will not affect your input path into PT at all. So don't think you are running 'through' a compressor before the signal hits PT - if you have inserted on the recording track its only on the output. To record 'through' a plugin you need to run an AUX which the input hits first and put the plug across that.
My Current Favourites are Waves  SSL4000, Reel ADT, API550EQ, Neve Sheps73 , LoAir, plus Slate Trigger, Autotune and the usual Bomb Factory bundle.


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