I had the opportunity to do a project between Einstein CDs about a year and a half ago. My old friend Nick Didkovsky (of Dr. Nerve) asked me to work on a project with him and Hugh Hopper. It was to be a metal induced - progressive work and evolved into the group now known as Bone . It was all recorded digitally between NY, London and Connecticut. I was thinking of getting some kind of system to record with and now I had the experience (at least enough - I hoped), the will to do it, and some funds. The result of this commitment to eliminate the "cash constraint" can be found in this first effort by the Forever Einstein in our own studio.
From my perspective a number of things can be heard in this first effort: Openness, more discreet integration of parts, more work in compositions that are given space to breath. One of the distinct (and I would hope obvious) changes is that I abandoned all percussive effects - no cowbells, wood blocks, saw blades, triangles whistles, bells or jangles. Let me tell you why.
When Chuck first presented the new material to us I had this impression - "Uhhhhhhhhh so, what the hell am I going to do with this?" In my typical style when composing parts, I threw everything, including the kitchen sink, at the material. I came to the conclusion that we should strip down Einstein to a fundamental level. Create a new version of the band that has more textures and less brash accents / statements. To me this meant one thing - the toys would have to go. Now it was my turn - I told Chuck I was not going to use any thing and I think this actually alarmed him but he let it go. Only at the end of the mixing did he call me up and tell me that it was the right thing to do for this material (I hope you'll agree). By the way, the toys have not been retired. Just given a break.
I need to go back to the studio process again We had the opportunity to perform some new trials in mixing techniques and the use of space in the mixes. I should also point out at this time that we did not master the project at a high level. This is a problem in a lot of commercial products today. Louder is better and the loudest must be the best (that seems to be the current mantra). This train of thought has created some dramatic mixes but I am with the group of individuals who believe that it is out of control. The result - a lack of detail and reality to the music we listen to. Not so with this project. We have engineered a lot of details that are only noticeable when listed to at relatively louder levels.
So I highly encourage you to listen to this CD at louder than normal levels - I really think you will hear the difference.
I really enjoyed doing this and believe me - it was a lot of work - repeat - a lot of work. Thanks to Marty Carlson of Barking Spider Studios for the use of his "golden ears". We recalibrated ourselves quite a bit and my only regret was actually not having enough time to dote over the project some more.
Isn't this where I came in - avoidance of regrets? Ah well, is any project ever really done?
In closing, I think this is a great growth for the group. It gives us capabilities that we only began to tap ( check out track 11. It was the one we did last and it may push our future production direction. We'll see.... but we look forward to the possibilities going forward!).
We hope you enjoy this as much as we did making it!
Now, where did I hide those wood blocks....... For information on my Kit - Click Here.
For information on the Bone project :Uses Wrist
Grab Click on the CD Cover Below.