We started the day by listening to two songs from Ohio Jeff, comparing home to pro mastering and its value. As Jeff’s music is electronic and instrumental it seems that the mastering does enhance, but it’s not like the difference that might be made with an organic band and a singer, this more minimal music seems to have little difference between what Jeff could do at home with what he has available to him and what a remote mastering person can do who is set up for this very task. Mastering is a stage that can make a big difference, but what is it? If you don’t know, check out this link to find out.
After Ohio Jeff, we listened to a track that Andreas had mixed from the project with Brooklyn Rajan (who is now Philadelphia Rajan). After this, we listened to twenty songs from the mystery project. All this took six hours, and everything mostly sounded just right. We ended up speaking with Andreas in Sweden as two mixes had gone astray, perhaps in my case they were on my main computer back in Porto. He sent us the mixes, and we completed the notes on what we heard, and we will be sending him some minimal tweaks over the next couple of days.
So next we were ready to record, and we continued with the Seagull 12-strings, this old and new strings system seems to be working well. The guitars are the same model, but it’s not just the strings that are making the difference, they seem to have slightly different bodies, or is it an illusion? The one with the deader strings seems to be louder, but it should be the other way around.
Twelve hours in the studio, listening, playing, thinking, concentrating, it takes it out of you. It’s not digging ditches, but it certainly gives you calluses, makes your hands and fingers ache and if you are not careful you can find yourself in a ditch that you can’t climb out of. Then there’s your brain which is rattling around in your skull, receiving and sending out signals, communicating with the guitar, invisible messages going backwards and forwards as you attempt to express what’s in your heart via your brain into a piece of wood and some metal wires – and then record it.
Music today has been an old favourite, despite how old and weird it is, it never gets old and stays wonderfully weird. Melodic, edgy, arty, upside down, inside out, beautiful, quintessentially English, lyrically intriguing, humorous, atmospheric, and starring an array of odd and disparate characters finding themselves together on Eno’s tape – it was tape because it’s 1974, and it’s the brilliant Here Come The Warm Jets. This from Wikipedia:
Eno enlisted sixteen guest musicians to play on the album, who were invited on the basis that Eno thought they were musically incompatible with each other. He said he “got them together merely because I wanted to see what happens when you combine different identities like that and allow them to compete … [The situation] is organized with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended.