Daniel John Chauvin Sr.
Rock and Pop
Hewlett-Packard p6540y AMD Phenom II 860 quad core PC with TASCAM US-1800 interface, running Windows 7, PG Music Band-In-A-Box RealDrums, PreSonus Studio One 2.6 Professional and iZotope Ozone 4. Mics: AKG Perception 220, MXR 990s, Shure Beta 58A and SM57, Sennheiser e845s. KRK ROKIT 8 monitors, Auratone Cube reference monitors, KRK KNS 8400 headphones. Yamaha MG124cx as channel strip, Alesis NanoCompressor, Alesis SR18 drum machine with Yamaha KX25 as controller, Line 6 POD 2.0, Casio CTK7000 keyboard/synth, Fender Hotrod DeVille 410 amp, BOSS ME-70 multieffects pedal, Fender Highway 1 Stratocaster, Alvarez Artist acoustic guitar, Yamaha P-type bass.
Production Notes & Credits:
"The One" is a male vocal rock/pop song and a "one man band production". Here's some of what Daniel had to say: "Drum racks were programed in Band-In-A-Box RealDrums with audio recorded and edited in Studio One. Guitar tracks, clean boutique amp and driven blues tweed come from Strat through the POD 2.0 (all instruments tracked with effects and EQ to the sound I want). Bass: Yamaha P-type bass through Yamaha MG124cx with light 3:1 ALESIS NanoCompressor insert to tame playing inconsistencies. Grand Piano, Electric Piano, Organ and Strings: Samples via CASIO CTK7000 keyboard. Vocals (main, doubled and backing): AKG Perception 220 through Yamaha MG124cx with no EQ, easy 2:1 compression. In Studio One, main vocal EQed and sent to reverb bus, with doubled and backing vocals EQed dry. I mixed putting everything in its place in time and space and added a little polish and gain with Ozone 4. I hope you enjoy it."
Reviewed By: Marty Peters
Recording: A nice overall effort here, albeit with a bit of room for improvement. The song intros quite nicely with a combination of electric guitars and keyboards thoughtfully panned. The bass has a good clean tone, and we congratulate Daniel for keeping his drum programming on the simple side, an area where many one-man/woman recordists run into trouble. The plaintive vocals are presented without sibilance or compressor/limiter artifact and sit fairly well in the mix.
On the down side, we felt that with the possible exception of the "acoustic" piano, all of the keyboard-generated tones, including the faux string patch, could use an upgrade. In his gear list Daniel tells us that they were samples via a Casio CTK7000 keyboard. From this limited description it's difficult to tell just what those samples were, but to our ears they sounded either thin or strident through our monitors. We also felt that these same parts could have benefited greatly from some reverb; the lack of "air" here contributes to the general ‚Äúcanned‚ÄĚ sound that we are hearing.
Suggestions: Daniel seems to have a fairly strong sense of composition and arrangement, as evidenced by his multiple layers of orchestration. Perhaps, then, our best advice would be to ask him to close his eyes and picture a symphony being performed in a concert hall. Likely he would imagine rich warm tones emanating from a stage into a room filled with a beautiful natural reverb... and if not, he should!
Can Daniel transport this scenario into his recording? Well, we'd like to believe that he can, with the aid of some gentle EQing as well as some careful experimentation with spatial ambience via his PreSonus Studio One software. Adding "air" to a mix can be a challenging task, but in taking the time to learn its nuances, Daniel will have added an invaluable tool to his recording arsenal for future projects.
Summary: Very solid effort, but there's a ways to go.
Contact: Daniel John Chauvin Sr., email@example.com