You’ll Experience A Wide Range Of Projects At The Recording Connection (Student Chris Bell)
Some of the artists I work with – well, for starters, we’re all very diverse. Each project was different than the previous. The first project I worked on was, I believe it was a group called Parish. They were a heavier alternative group, very cool. There were like six of them, but they had no bass player, which was kind of interesting. So, it wasn’t something that I was used to, actually being a bass player.
Setting up for the project was probably pretty standard except for the fact that we knew we needed to account for some of that low-end fundamental that wouldn’t be there because of the bass. So, what we actually ended up doing was putting extra mics on the kick drum and building a little tunnel around it with sound blankets to make it boomier and beefier to kind of account for some of that low-end that wouldn’t be there which worked out really, really well. There was a good low-end presence with that.
The guitar players also played in a D tune fashion, I think D or C, and it accounted for some more low-end, and they had this really heavy, thick sound that really, really worked out. Had they kept all those dynamics and added a bass player, it may not have worked. So, I think that first project was good because I was able to learn about alternate ways of doing things. Not necessarily the standard is always the best way to go, but to try new and different things.
Also, my mentor, the one day of the session, his boy became ill and he had to be upstairs with him most of the day. I actually got to run that session for an entire day, and the client was incredibly happy and that made me feel good that I had learned enough within the first few weeks of being there that I was actually able to run a session and everything turned out really well.
After that, I worked on a project with a group called Lovely Crisis. They were a punk band. They were 15, 16 years old, all incredibly talented. That I took more of an assistant role on, I did a lot of mic placement, setting some things up, tuning guitars, just kind of helping out in the studio, I guess your standard apprentice (extern) stuff.
Not every project is as involved as others. I also did a project for a band called Paradox Please. They were another group of young kids. They were probably about 16 or 17 years old. I spent a lot of time with that project. That was very cool. They had sort of a muse kind of sound, and we did some different things. Like we had the bass player play with a really heavy, distorted tone, so we would run it direct out the distorted track and also ran a clean track to an amplifier, and mic’d that. So, we had a blend of the direct, distorted tone and the clean mic tone. I also got an additional
engineering credit on that for spending quite a bit of time with that.
I worked on a project which was a drum percussion record, which basically he had all these drum beats in his head, and he came down and basically just recorded them to a clip. We layered in instrumentation on top of it, synths and horns, and bells, and other percussion sounds. I played cello on a song. We had guest guitar players and keyboard players, and singers and violin players, and it basically was just, we wrote it in the studio and everybody had a hand in making the project work. It probably was one of the projects that I spent the most time on. That was actually very rewarding because it was more different than anything I have ever done.
I did two film projects with my mentor. One was, he had me as a Foley mixer. He basically recorded cloth sounds and some sounds for some scenes in the kitchen, and bar sounds, clings of glasses and ice cubes going in, and pouring drinks. I actually did all the recording for that, which is funny because they call it Foley mixing, but I actually was, I guess, Foley recording. Like I said before, he gets a lot of L.A. clients because he used to live out there. But he still maintained those clients, so whenever they have film projects coming up and they need someone reliable to do Foley, they go to him. I was very fortunate to be able to get an IMDb credit because of that film. So, those are just some of the projects I’ve worked on in and out of The Recording Connection.