Electric-Bear Productions Ltd. is a young and energetic company centred around providing professional services, spaces and opportunities for music creators to develop, practice & further their work.
Since we were founded in 2012, we have played host to thousands of clients including artists and bands from around the UK, USA, Europe & Asia along with established names such as Sony, Black Card Music, Peer Music and The BBC.
We are focused on enabling every musician, performer, engineer and writer to reach the top of their game.
LOCATION CASE STUDY
What do you get when you cross 2 producers, an international band project and a church? A badass rock album!
Summer 2017 proved to be one of the studio’s hardest, busiest but most enjoyable periods to date where we spent 3 weeks working with alt-rock band, Shaken Tailor, on their incredible studio album.
From final parts of pre-production to mixing and mastering, we did it all, so here’s a little breakdown of how we did it and why.
Throughout this album, the drums are a mixture of different drummers, different kits and 2 different locations. Location 1 was our Live Room at Electric-Bear Productions – a medium sized blank room with slight brightening characteristics.
We typically used 15 channels for the kit, including double-micing on the necessary shells and some very intense attention to detail, after all, if the drums aren’t good, chances are the rest of the tracking won’t live up to it’s potential. Location 2 was St. Johns Church in Mansfield. Still fairly ‘young’ at 200 years old, we had to take the opportunity to record 60% of the album drums in this huge space.
Naturally, we had plenty of reverb and therefore wanted to ensure that we captured an incredible sound from the kit. With 28 channels running from the kit and around the space, we were able to capture a great sounding, natural and unique drum sound – plus, having a great drummer helped!
As usual with Shaken Tailor, we had different bassists step in and assist with this project using a number of different amps, pedals and basses. The default amp used throughout the album was the Gallien & Kruger 150A, with other amps such as a Fender Bassman, various Ampegs & a Mark Bass. Pedal-wise, we can’t remember, but there were definitely appearances from pedals like the Big Muff and so on.
This is where it gets interesting. On average, each guitar part has 7 amps re-amped onto the part to create the final tones. Again, a whole array of amps were used, but the main selections were; Bogner, Orange Crush, MesaBoogie Dual Rectifier and a Fender Champion to get us started! We like to keep things on point and natural, so we aim for minimal use of cutting, pasting and dropping in so the guys had to really get their fingers into their parts to make it happen.
The lead guitar was written and recorded remotely, this time not by us but the band felt they needed it in, so we got our hands on it during the mixing stage.
All the vocals were tracked at the studio using 3 different microphones over the album. 1. The Aston Spirit 2. The Shure SM7b and 3. ‘The Saltshaker’. No. 3 is our little secret weapen, built in 1932 and hailing from CBS Radio in The U.S., this mic gives us a raw and vintage edge to tracking that is hard to emulate.
Take a listen…
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