This essay on the motivation, process and conclusion on the Of Clouds EP by wecollectskies comes with the download of the album and offers a unique insight on how the sound of the album was architected.
Final Project Description
I asked a number of people what devices they use most frequently in order to listen to music with – most people said either a mobile phone, mp3 player or a computer. This gave me the idea to create the music for playback so that it could be listened to using said devices. A number of people do not even own a Hi-Fi let alone studio quality speakers or headphones. Listeners are content to play their favourite tracks using only the inbuilt speaker – in many cases at max volume – thus distorting the actual quality/dynamics. This is that I first decided to explore further, with an intention to obtain clarity within the overall sound, regardless of the speaker quality or amplitude. From testing commercially recorded tracks, there seemed to be an overall harshness to the sound in general. The cymbals and guitars in most metal music would spill over the sound as a whole, essentially creating a wall of distorted fuzz. The same applies to headphones with listeners having a habit of playing the music at max volume whilst walking down the street or on a bus. When asking a couple people if I could listen through their headphones to check the “quality”, I found that the sound was similar to that of the phone speaker – the dynamics where completely lost and it appeared that the general consensus was the “louder the better” even though the sound is destroyed. I then went on to test laptop speakers and PC speakers, from which I obtained very much the same result. The main aim for the EP was to make it fully audible at max volume on various headphones, phones, and inbuilt speakers alike. To emulate the playback on various devices/output I choose to mix, record and master with that which people have at home. This accumulates to roughly eight pairs of cheap headphones under £20 (also gaming headsets), two pairs of PC speakers (£10) and a number of phones and laptops. There was no use of professional monitoring systems for the playback, testing and finalizing.
As the concept developed I decided to work entirely within the digital domain rather than analogue, meaning that I would not be able to use microphones, real amplification or real drums. Ultimately, the only real part of the EP is the two instruments being played; guitar and the bass. the amplification is simulated and recorded directly from a digital guitar peddle – there is no guitar amp and mic usage within the EP. One of the key instruments is the drums of which were programmed fully in midi. The samples were re-tweaked and edited from the original “kit” sounds used in the Reason Re-Drum.
In summary, my idea was to see if a digitally created/recorded EP can hold up to a commercially released record. More importantly, would it be able to stand alongside other tracks in terms of overall sound, hold the same characteristics and dynamics without being created in a studio environment? The EP was also only created by one person, there is no band but it was made to sound like there was one.
Contextual Reflection.
During the creation process it was important to have a number of comparisons in terms of what production techniques are currently being used, overall levels of the instruments, how the mix “sits” and general audio level/dynamics. It is important to note however, stylistically the EP was crafted via personal musicianship and technique. as every guitarist will quote that they have their own tone and playing style, this EP is composed of fully original material.
The first reference was to the overall sound level, from artist to artist, and the current trends within similar sub-genres that the EP could be linked to. the ‘loudness’ factor is important. Metal bands aim to be as loud as possible, be it due to taste or to enhance the feeling/message of the record. Whilst the “Of Clouds” EP is not related to metal in terms of structure and composition, it shares similar traits so the level had to be consistent. This was also highlighted by the fact many listeners could be playing the EP in shuffle mode (if within a similar genre) on their computer, phone or mp3 player, making it important to keep up the “loudness” factor, yet at the same time aiming to not ruin the dynamics of the piece.
A record I used as a comparison was “There Is a Hell, Believe Me I’ve Seen It” (2010) by Bring Me The Horizon. http://www.bringmethehorizon.co.uk/. the mastering is focused on maximising the sound of each of the instruments and levels setting it apart from records of another genre. This album was used as a reference solely because of this point – looking at the audio file it was pretty clear to see how “at the peak” the record is. the EP holds well level wise, yet I appreciate that BMTH’s recording/mastering process is much more refined and professional compared to an EP recorded without a microphone with less than substantial monitoring.
Other records I listened to include:
“The Long Procession” (2010) by Amia Venera Landscape
http://www.myspace.com/amiaveneralandscape
“Through Closed Eyes” by April Dead (2006)
(Of which I was previously a member)
http://myspace.com/aprildead
“Messengers” (2007) by August Burns Red
http://www.myspace.com/augustburnsred
All of a sudden I miss everyone (2007) by Explosions in the Sky
http://www.explosionsinthesky.com/
The above are just a few of the records that I listened to. I found that the overall mix I was crafting was able to sit well next to another artists within the “Of Clouds” genre. In terms of instrumentals the guitar level fits well as does that of the drums.
In relation to mastering, due to the lack of frequency response (if any) from the PC speakers it was hard to get the more refined shimmer to the sound. However, by using a number of spectrum analysers such as the Voxengo Span, I was able to recognise elements that my mixing/mastering was lacking, or that the speakers were not responding to.
Project Summary
As for the general production, I believe that this EP is comparable to that of a commercially mixed releases such as those that were used in reference, in both regards to the sound of the instrumentals and the mix levels. The EP has its own characteristics and, considering it was produced without the use of high end production tools, it is still able to hold its own. Compared to my previous material that was recorded using a similar set up, it is clear that the production contains a great deal of clarity. I would like to have been able to record a version of a track(s) using high end equipment to see how it compares as an end result.
The guitars are convincing, the stereo spread is wide and captures a lot of the energy contained within the composition. As great as the amp simulation sounds, on a personal level I feel it is lacking harmonic content from a real guitar cab, amp and microphone. Sometimes I feel that High-Gain guitar tones are not suited to that of a digital effects unit, however a clean guitar setting can be impressive. I also found that adding delay on the unit did at times make the signal too hot on the mono output.
Even though the bass appears fitting for the most part, when the kick drum is at its most hectic the bass tends to get lost within the mix – I think, however, this is due to the programmed timings of the pattern and the eel on the kick. I would also like to note that the bass is not an instrument I have personally recorded before so I would have liked to have learned a better playing technique so as to improve the sound.
I have to say I am pleased with the drum sound. The patterns at times become a little mechanical but for the most part the “kit” sounds clear and at a good level. I was able to create a slight humanisation to the drum beats and form a number of variations on the same piece of kit. It would have been interesting to have made use of other musicians and play-styles in the composition, such as a real drummer, for example.
In terms of playback, I find that the EP has clarity on a wide range of speakers and headphones. At full volume the sound stays more consistent to that of other artists I tested, but then there is also the issue of MP3 compression. There are a few mixing flaws and errors but generally I believe I was able to capture my intentions solidly. I am now looking to create more music with set limitations as the results are more original and contain an element of individuality.
