Home Sweet Home Studio

Moving recently has been very exciting for me, and not just because I’m moving in with my girlfriend. In our new house we have a spare room, which means I get a home studio! I think this may have only been agreed too so my girlfriend no longer has to listen to me mix, but all the same, I’m very happy. 


Luckily I have a reasonable amount of gear already to outfit my new studio room, a pair of Yamaha HS5’s, a Focusrite Saffire Pro 40, an SM58, some drum machines, guitars, a bass, amps, keys etc. and I’ve just bought an AT2020. 



The AT4040 is a great mic I’ve used often at LIPA. Its great on acoustic guitar and works amazingly on some vocals. The 2020 is it’s cheaper, cardioid little brother. I got a chance to try it out last week when my friend Will came over. We recorded some acoustic covers of a couple of Black Metal songs. Only using my new AT2020 on my pretty crappy Fender acoustic was an interesting trial. The great thing about a limitation like that is it forces you to take time to get the result you want, rather than just throwing a ton of microphones in front of an instrument. Carefully positioning the mic for each section of the songs to get the result I wanted, and not settling until It sounded perfect. 


I’m a fan of the AT2020 already and it genuinely seems like the best microphone in it’s price range. It has great rejection from the back, lovely sounding mids and highs and is incredibly versatile. If you’re looking for a budget condenser mic I would highly recommend it. It has a somewhat lower output than I would like however, but a low self noise, so in the age of digital recording this isn’t really a problem. 


I need to spend some time treating my new room and getting used to it, but I’m pretty happy with how it sounds already, and it’s inspiring me to mix. I’ve got tons of material to mix, so I’ll have something to show you all pretty soon!

Thanks to Charlotte Tangen for the photos and thanks for reading,



Magic In The Magnets

I finally got the opportunity to record a band on tape last week. From 10 till 6am on the 4th of May, I fought a battle with ancient technologies and won. It was my first time actually recording onto tape, and it wasn’t easy.

There’s so many things you get used to in the digital world, how easy it is to set up projects, to route signals around, to edit. All of this was hard in the land of tape. You have to think a lot more about what you’re doing, what you’re patching where, what will happen to the signal. We have a few mishaps, but the recording went extremely well. 


I was recording Anne Groen (She’s amazing, go check her out on Facebook!) and her band. They’re a psychedelic prog rock band, in the vein of something like Led Zeppelin. It just felt right recording it onto tape. They speed up and down during the track, and change time signatures, but doing it to a click felt too rigid and just didn’t suit them. I tracked them live, with limited mics, 12 for the whole band, drums, bass, guitar, acoustic and vocals.

I used the good ol’ Glyn Johns method for the drums, mostly because this had been used on a lot of Zeppelins records admittedly. I also tracked the vocals and acoustic in the same room of a blaringly loud electric guitar. I originally planned to over dub them vocals and acoustic, but the spill from the electric guitar actually sounded great, so I kept the original take. It took us two run throughs of the song to get the perfect, imperfect take. It had so much energy. When a band knows that everything they play counts, that there is no beat detective or melodyne, you get a different vibe. It’s not better or worse, it’s just different. The whole band playing their hearts out together has a magical quality. Hence the title.

Tape brings something to the table. You may not like the hiss, or the way it fucks with your sounds, but you have to appreciate it’s finality. When working with tape you have to do a lot of your EQ and compression on the way in. To get the right gain structure it’s essential to compress anything very dynamic and if you EQ any highs once you’ve recorded onto tape you’ll be bringing up tape hiss. This in itself is magical. It’s hard to make decisions in the digital world, everything can be undone, but I don’t think ctrl z is out friend. Working this way has really inspired me to make decisions and stick to them.

The record isn’t mixed yet, but it’s sounding great. The pleasure of doing so much on the way in is that when you’re done tracking the band gets to listen to something almost finished. It’s a great feeling. Tape is good, I encourage any of you who have access to a tape machine to go try it out, you might find some magic in the magnets too.

Good luck,



Plugins, Plugins, Plugins!

For anyone working in the digital domain, plugins are your best friend. Unfortunately not all of us have the luxury to be able to afford outboard hardware, or simply need a more portable solution, so plugins are the next best thing. The only problem is, there are hundreds of them out there and it’s hard to tell which are worth your time. Today I’m going to talk about the best free plugins I’ve found, as I’m sure a lot of you are cheap fuckers like me.

I work pretty much exclusively with Protools, and I sometimes use a bit of Logic so this post will focus on these DAW’s. First, my favorite plugins bundled with Tools and Logic. The basic EQ’s and dynamic processors on both Logic and Tools are amazing. I love the EQ3 for its simplicity and ease of use and use it for most of my EQ needs. I’m not a fan of most of Protools AIR plugins, but there are great plugins included with the software.

Protools includes the SansAmp PSA-1, a software emulation of Tech 21′s incredibly popular SansAmp PSA-1, an amp emulator/ DI box. The plugin is incredibly flexible and comes with a wide range of decent presets and best of all, is free with Protools. Mix engineer Tchad Blake (Who recently mixed AM by the Arctic Monkeys) swears by this plugin and uses it on kick, snare, vocals, guitars and is the only thing he’s used on Bass for the past 10 years. He talks a little about the plugin here.

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Logic also has a great selection of plugins bundled with the DAW including some amazing reverbs and delays. My favorite of which, Space Designer, I really wish I could port to Protools. Space Designer is a convolution reverb meaning it combines your audio signal with an impulse response (IR) reverb sample. An IR is a recording of a rooms reverb characteristics. Space Designer even lets you import your own IR’s, such as this brilliant library of the famous Bricasti M7 impulse responses.

Now lets look at some free plugins that are floating around the internet. Of course there are ways to “acquire” most plugins, but we’ll be looking at legitimate free plugins today. One that I’ve been using a lot lately is the Softube Saturation Knob which can be downloaded here if you use Protools. I first saw this plugin when mix engineer and presenter of Pensado’s Place, Dave Pensado, mentioned it on one of his videos. This is a pretty simple plugin that does what it says on the tin. It’s a knob that saturates your audio. Saturation is basically harmonic distortion. This means if for example you run a very low bass through this plugin, you can create higher harmonics. This is very useful on bass as it can be used to make your bass cut through even on systems that have little bass response, such as laptop speakers. The plugin has three modes; Keep High, Neutral and Keep Low. Keep low will allow you to distort the track without effecting the low frequencies and keep high will do the same but for high frequencies.

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Another great free plugin is King Dubby, which you can download here. King Dubby is a dub delay plugin based on dub producer King Tubbys custom dub delay. The plugin sounds a lot like a dubby tape delay, and gives you the usual delay controls (time, feedback, mix), extensive filter controls, degrad and panning controls. It’s not only great for mixing dub/ reggae, but also for some crazy experimental delay effects.

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With a little more research you can find tons of great plugins without spending a penny. On top of this, many high end plugin manufacturers give away their plugins for a limited time to promote them. SoundToys have done this with their last two releases. I managed to get their new plugin, Little Primaltap for free and the whole collection of Line 6′s POD Farm. If anymore free plugins turn up I’ll be sure to post about them.

Happy hunting,