Matthias F. Brasch

River of Time is a track I recorded of 'Our Blanket Skies' (Matthias F. Brasch) with one condenser microphone in Matthias's apartment in Berlin, July 2010.

Who is Matthias F. Brasch apart from being a friend? 

Well...

He is a songwriter and lives in kreuzberg. this is in Berlin.

He likes folk hymns, hum-along-choruses and the swing of the old musicals.

He loves uku lilli.

He talks to a monster in his bed.

He's hopelessly in love with a vampire and knows a child who desires to ride on a magic red balloon.

In his "painted world" he watches life "with a laughing and a crying eye", cause he knows that we're all sailors on the river of time and will have to pass one day.

River of Time by sound zoo recordings

The Astronaut by sound zoo recordings

On 12 April 1961, Solviet Cosmonaut Yuri Gagari became the first man to travel into space, launching to orbit aboard the Vostok 3KA-3. During his flight, Gagarin famously whistled the tune "The Motherland Hears, The Motherland Knows"

Around the same sources claimed that Gagarin, during his space flight, had made the comment, "I don't see any God up here." However, no such words appear in the verbatim record of Gagarin's conversations with the Earth during the spaceflight. In a 2006 interview a close friend of Gagarin, Colonel Valentin Petrov, stated that Gagarin never said such words, and that the phrase originated from Nikita Khrushchev's speech at the plenum of the Central Committee of the CPSU, where the anti-religious propaganda was discussed. In a certain context Khrushchev said, "Gagarin flew into space, but didn't see any God there". Colonel Petrov also said that Gagarin had been baptised into the Orthodox Church as a child."The Earth is blue…How wonderful. It is amazing". —Gagarin, to ground control.

On May 5, 1961, Alan Shepard piloted the Freedom 7 mission and became the second person, and the first American to travel into space. He was launched by a Redstone rocket, and unlike Gagarin's 108 minute orbital flight, Shepard stayed on a ballistic trajectory suborbital flight—a flight which carried him to an altitude of 116 statute miles and to a landing point 302 statute miles down the Atlantic Missile Range. Unlike Gagari, whose flight was strictly automatic, Shepard had some control of Freedom 7, spacecraft attitude in particular. The launch, return from space and subsequent collection by helicopter were seen live on television by millions.On his successful return to Earth, Shepard was celebrated as a national hero, honored with parades in Washington, New York and Los Angeles and meeting President John F. Kennedy. Shortly before the launch, Shepard said to himself: "Don't fuck up, Shepard..." This quote was reported as "Dear Lord, please don't let me fuck up" in The Right Stuff, though Shepard confirmed this as a misquote. Regardless, the latter quote has since become known among aviators as "Shepard's Prayer."

Behind The Music

'The Astronaut' was an untitled lost song for a few years, originally recorded in January 2007 as part of the boats 'Segundo' sessions, however the track did not fit with the mood of the other existing album material and so it was scrapped. In 2010 it has been beautifully revived with new overdubs and a new mix by band member and producer Jona Byron and thus given a new dimension. It is a dense track, complete with electronic sounds and electric piano, and the signature guitar sounds that is the boats. Possibly more experimental in it's production, yet not too far removed from 'Seize The Stars and Turn Them To Cinders' from the up and coming 'Segundo' album. Just as band member Nick Conolly had a heavy production hand in the debut albumLos Musicos Perdidos, Byron takes production and mixing control with the boats latest offerings. This gives each boats album a unique sound as the band continue to evolve and explore the outer reaches of instrumental post rock and improvisation. 'The Astronaut' is now available as part of volume 15 of The Silent Ballet Compilation Series, released digitally through Lost Children Netlabel, and available for free download to all Silent Ballet readers via archive.org and legaltorrents.com. The Silent Ballet digital series aims to promote various types of musicians, bringing together what SB consider to be some of the more exciting and interesting acts on the instrumental/experimental scene. To download the The Silent Ballet: Volume XIV including the new boats track, click here or for non HTML pages visit www.thesilentballet.com for more info and check the boats myspace page www.myspace.com/theboatsmusic and official web site www.theboats.net

Enjoy this new free download and please respect copyright laws.

Segundo

A long standing project that I have been working on (for what seems forever) is the next boats album, aptly titled 'Segundo' (that's second in Spanish). It's not unusual for band members to take on recording or mixing roles with their own music, however, it can lead to a laborious long haul as you try and step away from it or try and hear it differently. After nearly 3 years I'm in the final mixing stages, and we're hunting for a label to release this epic little monster. 

Segundo

The album was recorded by Stuart Seear at JMC Audio, way back in the summer of 2006 and 2007, (in December and January to be precise) and recorded on what turned out to be two of the hottest days on record here in Victoria. Fortunately we were in an air conditioned studio drinking beer and Stuart was more or less pressing record and sitting back as we (mostly) improvised long spontaneous jams, and some of the loudest most intense music we had created as a band to that date. On the second session I came to the band with some more structured arrangements and parts, such as the start of 'Seize The Stars And Turn Them To Cinders' and 'All These Fires Are For You', but the majority of the two sessions was still improvised, as it still is today, cause that's what we do best.

Seize the stars and turn them to cinders by sound zoo recordings

The boats are an atmospheric, dynamic and a beautifully improvised instrumental experience, creating sonic sketches of looped guitars, piano, bass and drums... conjuring up moments of Mogwai, Explosions in the Sky, The Necks, Godspeed You! Black Emperor, Ennio Morricone, Set Fire to Flames, Dirty Three...while at the same time remaining truly unique in their delivery. Often being described as surf-rock, post-rock and even 'the new jazz'. The boats have released two independent EPs, and delivered their debut album 'Los Musicos Perdidos' in 2007. Currently the band prepare to release a concept EP inspired by the pioneers of space exploration, the new song 'The Astronaut' is also included in volume 15 of The Silent Ballet Compilation Series available for download. The second and long awaited full length record 'Segundo' will be out late this year or early 2011.

Produced, recorded and mixed by Jona Byron at The Sound Zoo. Mastered by Adam Dempsey at Deluxe Mastering in Melbourne. The on-line single is now released through Vitamin, and you can read the label press release here and also buy the track. 

The Saviour (radio edit) by sound zoo recordings

The Saviour (extended mix) by sound zoo recordings

Ellen Kibble

Young and rising singer songstress Ellen Kibble usually spawns emotive folk ballads not too far removed from early Jewel or emulating moments of early Cat Power. She is by all means, a sensitive singer songwriter and an artist I would regard as a tightrope walker between commercially viable and indie alternative. And here, with her new song Weatherboard (I produced, recorded and mixed) she walks a slightly darker road. The song leads the listener down a walk to the gallows for what could be a dead man walking theme, the bluesy guitar riff and thumping distant drums paints out a southern American lynching of an innocent man, or something along those lines. This was my vision as soon as she played me the song on her guitar. It's a haunting and swampy tune, especially when turned up loud and Ellen almost whispers the dramatic story as if she's told it one too many times before, as some signature boats sounding guitars hang in the distance, humid, like the mood of the summer air, while the growing crash of drums punctuate each step towards the man's final moment. The song has film soundtrack written all over it.

Visit her Myspace and preview the tracks below. Her new CD 'The Cavalry' is available at her gigs and by contacting her at ellenkibble@gmail.com.

Listen to Weatherboard by Ellen Kibble. Engineered & Produced by Jona Byron and Hatstand, engineered and mixed by Pete Uhlenbruch, mastered by Jona Byron.

Weatherboard by sound zoo recordings

Hatstand by sound zoo recordings

Toni D. Mellow

I've known Toni D. Mellow now almost 7 years. She's not only the lead singer of one of my projects 'Glass Mountain' but is also an extremely talented visual artist and a unique singer/songstress in her own right, sometimes hailed as a young Australian Gillian Welch or even a young Marianne Faithful. It's not just the fact that the girl's voice sounds far older than her own years (often at times echoing a mature Nina Simone) but it's more the sense that those who hear her music are captured by something authentic and raw. Toni rarely records lead vocal overdubs when it comes to her solo music (unlike in Glass Mountain) and usually will sing and play the song live, and I only ever have to stick a mic in front of her and she nails it in one or two takes. I've recorded many many hours of Toni's music over the years and have collaborated with her on her songs, but I have never been instantly moved to tears after a take, however I was when we laid down her song 'Chalice' (recorded 28th October 2009). The song is not all that sad to listen to, or devastating (and trust me, she has written and recorded some devastating stuff) but there is such a sincerity behind the lyrics and delivery in the take that you are left in silent contemplation and need to hit replay as the track runs at a short 2:32 minutes. The track certainly has an alt country swing to it, and she wears her influences proudly on her sleeve, yet there is an impact felt here that is a bit like peeling away the layers of an onion, emotively speaking. I added a little bit of simple banjo ukelele, and Toni added some backing vocals but that's all it needed. Layering this song with instrument after instrument would dilute the song of it's simple power. 'Chalice' is a complimentary AAC 320 kbps download on Soundcloud, so enjoy!

Chalice by sound zoo recordings

'Arc Of Sparrow' was recorded in early 2008 while I was living in St Kilda. It became one of my favourite tracks of hers and I asked her if she would like to include it as a Glass Mountain song, she said yes and I went ahead and made the video clip below for it while I was visiting family in Perth, Western Australia. However, Toni eventually felt that the song was much too personal to her, so I respectfully pulled it from the Glass Mountain set. 

Arc Of Sparrow by sound zoo recordings

Watch the clip I shot on a Nikon Coolpix camera.

Arc Of Sparrow from Jona Byron on Vimeo.

The dark and brooding 'Stop The Rain' was recorded in 2007 at a friend's house. This particular track was recorded live to a mini disc recorder as Toni improvised the song on piano. Out of all the amazing tracks on her independently released 'Fire In The Desert' (short run made in 2006) this was the one local radio Triple R played more than the others, and it was the most spontaneously recorded.

Stop The Rain by sound zoo recordings

Biography

In October 2006 we were all standing in the corner of one of Fitzroy's most popular watering holes, The Empress Hotel; a heritage establishment for countless Melbourne artist's. A shy young woman with wild blonde hair, ripped stockings, army boots and a long black dress nervously graced the stage holding a beautifully worn Cole Clark acoustic guitar. My friends prepared themselves for an angsty serve of Difranco flavoured girl power tunes full of bitter resentment and harsh attacking vocals, but as soon as Toni opened her mouth I could see the mouths drop around me, because it was not girl grunge which emerged, but the sweet haunting sound of country blues from the deep American south. We could have been listening to Memphis Mini star crossed with Gillian Welch, and there wasn't anything strictly blues or folk about it, it was traditional, yet alternative, and most importantly, utterly heartbreaking, whether she was playing a Nina Simone song or one of her own, her voice wept into the microphone.

Toni has a distinct voice, timeless, often bringing grown men to tears. As with most authentic artists who are troubled souls, Toni sings from her gut and not only means every damn word she spills from her mouth, but feels and lives it. Toni has an effect on people, and draws people in with her eyes, her passion and most importantly, her voice. A voice that you will often mistake for Janis Joplin when she wails, a voice that is ready to shatter and break glass but also able to lull the hardest heart. Listening to Toni d. Mellow it's hard to believe that she's only 24 years of age, but then again, this was a girl who was winning over judges and musicians at the age of 16. Toni has played with the likes of Clare Bowditch, Jen Cloher, Renee Geyer, Mia Dyson, Ember Swift, and Serena Ryder to name a few and she has received praise and support among fellow musicians. Maybe Toni is an old soul, haunted and beautiful, but whatever the magic is that she possesses, the artist lives within her blood and she wants nothing more than to express her laments. Toni is also a very talented artist and has been producing striking charcoal and oil pieces for many years now. She is currently piecing together her long awaited album and is in search of management and new shows to play. One thing is for sure, this talented young lady deserves to be noticed.

www.myspace.com/tonidmellow

Adam Dempsey

Here’s an issue that’s been done to death, so let’s get it over with and get back to the music. Suffice to say, there can be no loud without soft, and constantly searing music levels on CD gets tiring fast, often to the point of encouraging listeners to switch off or to turn it down anyway. (Case in point: TV commercials).

Over the years CD’s have been getting louder than ever due to the over-use of compression and limiting which reduces dynamic range, often destroying it altogether. This loudness war stems from the illusion that, all things being equal, louder sounds better. However, the natural dynamic and life of music is being drastically sacrificed. Listeners are forgetting their humble volume control and many seemingly believe that volume level is something pre-determined by the mastering engineer!

LOUDNESS COMPARISONS

To begin with, loudness is relative. In other words, it’s meaningless unless compared to something else. The decibel (dB) is not an absolute unit of measure – it’s a ratio of measure to a known reference.

Comparing lower budget home recordings against commercial releases is rarely comparing ‘apples with apples’. An acoustic guitar, however over-compressed, will never sound as loud as a rock band (nor should it). An element of a mix that is hard panned to the left or right channel will, by definition, only come from one speaker, not two. Guess which sounds loudest, one speaker or two?

A great recording will sound large and clear due to several factors: musical arrangement is paramount; acoustic instruments having been recorded in a suitable acoustic space with great microphones and placement, along with judicious use of compression – if any – during each stage of recording, mixing and mastering; and great use of contrasts in a final mix in terms of tone, imaging, wet/dry... and dynamics.

Frequency response also affects apparent loudness: all things being equal, a program with increased mid range will appear louder because our ears are most sensitive to mid range frequencies.

A mention here on cumulative compression, the result of which is not the sum, but the product of each compression ratio. For example, 3:1 compression during recording + 3:1 compression in mixing + 2:1 compression in mastering does not equal 8:1 but an equivalent 18:1! A single dose of 18:1 compression, plus peak limiting, will do far more harm and create a smaller sound than several stages and types of gentle compression from the outset. This is why an over-compressed mix will become louder, yet sound “smaller”, because the life of the music has been (literally) squeezed out of it.

Of course, competition is real, first impressions are crucially important, compression is not “evil” per se, and songs need to sit beside each other and maintain coherence within context of the whole (which may or may NOT mean that they should have equal loudness!). This is all part of the craft of mastering, which leads to the next issue...

LOUDNESS METERING

Loudness is judged by ear and determined by average sound level and the nature of the sound itself, not peak level.

Audio signal peaks are very brief in length and so have little bearing on loudness at all. Therefore, after mastering, the peak of each song may not hit maximum digital full scale level (0dBFS). Indeed, distortion may occur on many CD players if your audio is constantly hitting this maximum combined with a high average level. When mixing at 24bit resoution you have some 144dB of dynamic range at your disposal. Did you know that your audio would need to peak at around -40dBFS in order to approach the resolution of 16bit audio? Many people who are mixing digitally are rediscovering the advantages of cleaner sounding results via keeping their mix levels lower – you don’t need to use all the room available, plug-ins can digitally clip behind the scenes (creating square waves and non- musical harmonics). So, the odd peak on the master output anywhere under digital clipping is fine (some digital peak meters are more accurate than others).

Mastering engineers often use the term "peak to average ratio" – the relationship between the peak and average level being a guide into which to fit a particular genre. This can be an indicator of how potentially loud or dynamically “aggressive” a mix will naturally lend itself to be in its final form.

VU metering is used because it mimics, with calibrated ballistics, our hearing response. As mentioned, decibel readings, in and of themselves, are not absolute measures but are relative to a given reference. Commonly, 0VU (itself, referenced to a voltage or magnetic flux level on tape) is calibrated to equal -14dB dBFS and vice-versa. While listening skills (in an unflattering, full range monitoring environment) remain the primary analytical tool, at least this way metering becomes meaningful and a constant reference.

PEAKS ARE NATURAL

'Maximizing' level also implies 'minimizing' dynamics and transients.... Dynamics and transients are good things." – Eve Anna Manley

On commercial pop CDs, peaks are often obliterated with limiting and clipping. These peaks, however, contain musically natural information and contribute to the punch, hugeness and "life" in music (such as when a snare drum makes you blink). If all peaks are removed via heavy limiting the result is further headroom, obviously then allowing for an increase in level. At first instance this may sound better because the music is louder and may match the “FM radio sound”, but it does not lend itself to repeated listenings without sounding fatiguing, nor does it lend itself to sounding good on radio. In fact, clipped and over-compressed music sounds much worse on radio, due to the numerous stages of filtering, Automatic Gain Control (AGC), multi-band compression, limiting and clipping applied ahead of the transmitter anyway. One of these stages, phase rotation, can make an announcer’s voice clearer on air, but also means any square waves from clipping can appear anywhere in the waveform, making it sound only more distorted!

Advice: Focus on your project sounding the best it can. As long as your mixes are mono compatible, making it “radio ready” is a myth; Let radio make it sound like radio – they all sound different anyway (and ever heard anyone complain that ‘Dark Side of the Moon’ or ‘Hotel California’ or ‘Stairway to Heaven’ is too quiet?).

IT USED TO BE ABOUT THE MUSIC...

“We don’t care if our record’s the loudest record on the radio, we just want to have the quality of what we’ve achieved in the mix,” – Danny Carey of Tool (Bob Ludwig interview, 9/12/08).

I consider dynamic range to be as vital an element to music as being in tune or in time. A good mastering engineer should not be in the business of defaulting to any particular processing or obtaining a specific target such as "this CD must read xdB for a minimum y% of the duration", but in applying careful dynamic processing (if necessary) which enhances the music without killing its punch.

Communication is crucial. Ultimately pro mastering engineers are here to serve the vision of the artist. Believe me, slammed music on a final product comes from someone (the artist or producer) making that call in mastering, or from the presented mix itself.

Worldwide, music lovers have realised why a live band can sound so much more “alive” than on their CD or on radio. Increasingly, mastering engineers have been asking: “why are soft songs considered too soft rather that the loud ones being too loud?!”

The drive for the loudest digital releases comes only from those who don't know better or fear being drowned out. The fact is, your music should exist in it’s own right. Compress in mixing for the sound of compression or to control wayward dynamics, not for sheer level. At equal volume levels, the more dynamic the music, the bigger it will sound, the more impact it will have and the greater the likelihood that people will want to hear it again and again. Let it breathe & turn it up! There can be no loud without soft.

by Adam Dempsey

To get in touch with Adam or preview his world-class work www.deluxemastering.com and his Myspace page.

I self produced and recorded (with a little help from producer Myles Mumford) my last release through Popboomerang Records, a mini-album titled Extinct Hearts. Here is the story behind it's forming. 

The idea of this release came when Scott Thurling (label manager) suggested we have a release to bridge the gap between my full length debut record 'Halos' (due out 2010). I agreed and so started sifting through endless hours of recordings, until we agreed on what was originally 5 tracks. One being the song Glass Jaws that we attempted to release as a short run single, however the single mix was far from the desired end product we had hoped for, so when I went to put the mini album together I revamped Glass Jaws with new lead vocals (sang the night before mastering!!!) and banjo ukelele. I also included the single b-side 'Duck Shooting' on the mini-album and a cover of the classic Bob Dylan song 'The Times They Are A Changin'. The real work came when I completely overhauled the song 'Extinct Hearts', adding new guitars only a week before label deadline, and new vocals once again! It was a nightmare, and unbelievably all the material was recorded and mixed on an old Powerbook G4 laptop, with a hard drive that was on it's way out (little did I know this at the time) thus slowing down the processing power considerably. This meant (and I kid you not) that not only did I have to bounce (mix down) my grouped tracks (such as drum tracks and then music, then vocals) into separate projects but even then sometimes the plugins I needed to use would overload the CPU and I would have to bounce my mix as a stereo track…just to preview a mix! And I would also guess how things would most likely sit from listening to older mixes, then make slight changes in EQ or level adjustments, make notes of my changes, bounce and hope for the best! This is how I mixed the entire mini-album! Not many people can believe this when they hear the finished product but let's just say it took me many hundreds of hours to do and a hell of a lot of patience and beer! Towards the end of production I ran out of time and literally did not sleep for 3 days. I was in panic mode and could not hurry up my slow laptop, in fact it started slowing down the more I pushed it. When I got to Jack The Bear's Deluxe Mastering in Brunswick to master it with Adam Dempsey, I fell to my knees and wept like a child. I was simply physically and emotionally exhausted! Fortunately Adam was a long time friend and was very compassionate...."Never again" he said, "Never again" I replied. What he meant of course was, don't ever do this to yourself again!

The easiest (relatively speaking) songs to create on the mini album were actually new songs such as 'Beautiful Bird', 'Duck Shooting' and 'Arm Yourself' as these were fresher and the inspiration was easier to tap into, which made the recording process quicker. 'Beautiful Bird' for example was written about a relationship I was in at the time, written in a few days and recorded the following week using her guitar! Tracks like 'Joan Of Arc' and the title track 'Extinct Hearts' took a little more work. Some of the mini-album was recorded at my home studio in Pascoe Vale South, however a chunk of it was recorded while I was homeless (or between addresses) and staying in a tiny art room at a friends house. 'Joan Of Arc' was recorded there, and the vocals were sung on my knees as there was no room to stand as the couch (which was my bed) took up the floor space. 'Arm Yourself' was sung and recorded live with acoustic in hand, in the wee hours one morning, and beautiful backing vocals by Tiana Morrison were overdubbed later. 

The mini-album had minimal engineering assistance; friend and producer Myles Mumford recorded my piano parts for Glass Jaws at Atlantis Sound and also a few backing vocals at his home. I also recorded drum tracks with Dale G. Thomas at his home, and some earlier drum tracks were recorded by Stuart Seear at JMC Audio. I had some wonderful special guests too, including Edmondo Ammendola from Augie March who recorded some killer bass parts and Francesca Mountfort (nervous Doll Dancing) who played some gorgeous cello on 'Beautiful Bird' and 'Arm Yourself'.

As soon as I finished mastering and backing up my tracks to an external hard drive, the hard drive in my laptop died. It was interesting timing, like closure had been made. But as much as Extinct Hearts was an enormous effort to record myself (not to mention the demons I had to face living in my own head day in day out) it will always remain a great lesson for me and a humble experience. When you truly suffer for your art like this you really take on a whole new appreciation for the art of creating. I now have a brand new iMac, so no more bouncing and I can now really record and mix like I should be, however, I will never struggle over a piece of work as I did Hearts (well I hope not anyway) and so this mini album will always remain very special to me. 

Credits:

Jona Byron: vocals, guitars, banjo, piano, organ, bass, keys, percussion

Francesca Mountfort: cellos on ‘Beautiful Bird’ and ‘Arm Yourself’

Edmondo Ammendola: bass on ‘Extinct Hearts’ and ‘Glass Jaws’

Tiana Morrison: backing vocals on ‘Arm Yourself’

Kat Winduss: backing vocals on ‘Extinct Hearts’

John Paul Hougaz: melodica on ‘Duck Shooting

Peter Uhlenbruch: flutes on ‘Beautiful Bird’

Dale G Thomas: drums and percussion

Recorded and mixed by Jona Byron in a variety of locations 

Additional production by Myles Mumford at Atlantis Sound

and additional drum tracks recorded by Stuart Seear at JMC Audio

Mastered by Adam Dempsey at ‘Jack The Bear’s’ Deluxe Mastering

Design by Andrea Herrmann: www.skewnet.com and Jona

All songs written by Jona Byron except

 ‘The Times They Are A Changin’ by Bob Dylan

Samples taken from www.freesound.org

Produced by Jona Byron

People can purchase the album via the Popboomerang web site (where they will also receive a free download of a bunch of extra unreleased tracks) and it's also now available on iTunes. You can also visit my Bandcamp page.

Here are some tracks that are my personal favourites. Glass Jaws is a complimentary free download on Soundcloud (not this streamed low 128 kbps but an AAC 320 kbps download!). 

Joan Of Arc by sound zoo recordings

Beautiful Bird by sound zoo recordings

Glass Jaws by sound zoo recordings

Richard Ross

A gorgeous old world track by an Australian reclusive and undiscovered folk singer, Richard Ross.

Richard Ross's music is a cross between Nick Drake, vintage Jazzmen, and an amalgamation of early Latin American crooners. His guitar influences are eclectic to say the least and his style is versatile, often being described as a fusion of jazz, folk and gypsy with an even spice of world music thrown in. Richard's favourite artists are many and varied, everyone from Erik Satie, Tori Amos, Leonard Cohen, Nirvana, The Czars, Radiohead and Louie Armstrong and the swinging jazz era, not to mention a strong love for early Memphis blues singers.

Richard's approach to composition and lyrics are, on occasion, mysteriously romantic. "This is for those who escape to the tinkling bars on a Friday night...for those who are wanting, the not wanting and those moving away." "To the sun that wins the war of the morning and the death of the night before, for nobody but the ages.

'Children of C'est la vie' is the final recording I captured of Richard live back in September 2009. It has been given an 20's retro touch in it's post production. Richard's music is so old world and often feels as if it's from another time, and I wanted to take this song back in time, back to the gramaphone and the old 78's full of scratches. One can get lost in this man's extraordinary music, as if he really is an artist from this early era.

Children of C'est la vie by sound zoo recordings

I recorded Melbourne instrumental post-rock band ‘Glass Canyon’. Don’t get these guys confused with 'Glass Mountain’ (one of my projects) because it is completely different. I recorded five tracks with the band on Sunday July 12 '09, in one of the big rooms at Bakehouse. It was all recorded live in a room with no overdubs. If you can get away with recording a good band live then the only thing you have to worry about is their performance, which was pretty good considering the material is fresh, as is the band. I’m sure you’ll be hearing much more of Glass Canyon as they progress.

White Sand by sound zoo recordings