Like writing, recording is a miraculous and fascinating thing. It’s a process that builds from the ground up every time, with no standard situations or routines to start from. What will work at one time may not at another, you never step into the same river twice, as the saying goes.
When I look back, each time has been unique and different, and with trial and error you work towards that feeling of capturing something special, something magical to your ears.
It can stand or fall with a particular microphone, instrument, location, room, position, or mindset, there’s so many variables that a satisfying result depends on. And there’s no telling in advance.
There are engineers and producers that probably know all about these things and have a sure-fire way of going about it in studios. But for me that is not always within reach, and when it is I’m not always impressed.
I started learning to help myself to record my songs a long time ago. Thinking about it, it goes back to when I was a kid, working a tape deck in sound on sound mode, bouncing tracks until they drowned in hiss. All for a strange hunger to hear my songs through my ears instead of only in my head. Then followed years and years of being in and out of many bands and studios.
Later, I got a side job in a major recording studio where I learned about microphones and rooms and positioning. And mostly I learned what I didn’t want or need and which was what almost everyone was doing there – making records that were more about sound than about music and copying the latest hits.
I did not want to depend on machinery like that or the business people to grant the access to it.
So I was on my own, knowing what I knew and doing what I did. Getting it right at the source had been the paramount lesson I learned, so over the years I invested in some top of the line vintage microphones and instruments and mostly movable recording equipment. Quite a compact set-up but enough to serve my relatively simple needs for making good quality guerilla productions in concert venues, barns, churches, bars, gardens, caves, and at home.
Not to say there weren’t any good people around me with valuable advice, facilities, goodwill and expertise. There were, and there still are, and I feel very grateful towards every one of them who helped my music along. When the stars align and possibilities arise I look forward to hooking up with some of them again. Being an indie act brings a lot of freedom but it can get pretty lonely and I have fond memories of some great collaborations.
Anyway, fast forward to 2024, when I find myself on holiday in Spain and in Greece with a head full of songs, a guitar, a field recorder and some microphones. Just to have it handy for some sonic souvenirs and writing demos, I set it up in a good sounding room with a panoramic view and start playing just for fun. The songs flow one into another, recording and writing go on for about a week and I find that feeling where everything falls into place, sound, moment, mood, acoustics, atmosphere and whatever an inspiring recording is made of.
Recording in 32 bit float mode with some high dynamic range mics meant I didn’t have to worry about levels, peaks, distortion etc. too much, so I played and sang like I do live and forgot about technical stuff. Just enjoying the playing and the songs with the view and acoustics of the room made it a unique and different experience for me once again. This bunch of songs is tied together by all those factors and now will find a way into the world as an album called ‘Camino Wayside’.
The wonder of it is, you couldn’t get there if you planned it, it’s made of chance, circumstance, providence, inspiration, receptivity, and a few efforts and skills you learned along the way.
Working on these tracks through the fall season and trading in all sense of perspective, then comes the time to wrap it up and let it go, trying not to have too many expectations, probably the hardest part.
But in the end putting music in the world is a miracle, a true blessing, and its own reward.
AV, October 2024.
