Throwback with the OG band, (first Los Cuyes Macabros, then Ninacuro). Probably playing “Sad But True”. @stamarizk@scornejom . So many more years and lives later, still doing music.
I recorded this beautiful song by the super talented @cristina.vaira.official . “Capolavoro” check it out! Great to have been part of this record and with this team!
————————————————————————————-
CAPOLAVORO is OUT NOW! I had the privilege to work with some awesome musicians and engineers!! @cettina_donato on piano, @fernandohuergomusic on bass, @sergio.bellotti on drums, @danielalbasound recording engineer, @37ft Sean mixing engineer, @amy__dragon mastering engineer! Thank you all for being part of this! I’m so honored ✨🙌🏼🔥
This was one tricky recording. “Krankenhaus” by @santamuerte.de was truly a guerrilla recording, which lead by default to a crude and raw sound (part of the goal) but also with the aim to make it sound as if we had had the help of a full studio. We transformed @bluesdogs.ec (a dog training and hotel facility) into a studio to make this great album, building our own room treatment, creating a booth for the amps, and doing everything together as one unit. Also, two baby sheep were born in the property during the making of this record hahhahaha 🐑🐑
Working on this mix today, and getting it so it sounds both modern but also with actual dynamics is always the aim. I was once told “if the listener wants it louder, they can raise the volume”…. What do you all think?
When producing and recording @stamarizk ‘s drums for @santamuerte.de ‘s “Krankenhaus”, we worked from the source and up. We made sure the drum parts were not just an instrument keeping time, but as an integral part of the song, composition, and arrangement. Drums are the other half of this band, and for good reason. We looked at getting the tuning of the drum set right, that the parts fit each song’s vibe, but also were true to Sebastian’s playing and also the band’s sound. I used some of my microphones here, and we aimed at a sound that was full frequency yet gritty and powerful. A sound that represented Sebastian’s strength and also his subtlety.
ESPAÑOL
Al producir y grabar a Sebastián Tamariz en la batería del tercer disco de Santamuerte, “Krankenhaus”, trabajamos desde la fuente en adelante. Nos aseguramos de que las partes de la batería sean, no sólo como un instrumento que aguanta el tempo, sino como una parte integral de la canción, composición, y arreglo. La batería es la otra mitad de esta banda, y por buena razón. Nos enfocamos a sacar la afinación apropiada de la batería desde el inicio, que las partes funcionen con la vibra de cada canción, pero también que sean auténticas a como Sebastián toca y al sonido de la banda. Usé algunos de mis micrófonos aquí, y apuntamos a un sonido que sea de todo el rango de frecuencias pero al mismo tiempo con crudeza y poder. Un sonido que represente la fortaleza y la sutileza de Sebastián.
When recording @juanfcknrojas ‘s guitar for @santamuerte.de ‘s “Krankenhaus”, we decided during the pre-production process to have a dual amp set up with very different tones and configurations (tube amps). Multiple mics, a different pedal chain for each, with so many different angles so to make everything feel more powerful, wider, raw, and grittier. Everything is one guitar performance that you’re hearing happening… and of course with Juan‘s amazing tone and vibe.
ESPAÑOL
Cuando grabamos la guitarra de Juan para el tercer album de Santamuerte, “Krankenhaus”, decidimos durante el proceso de pre producción de tener dos amplificadores con tonos muy diferentes y configuraciones (amplis de vulvos). Múltiples micrófonos, una señal de pedales diferente para cada uno, con atención a detálleles para cada uno sea lo más poderoso, ancho, y crudo. Todo es una sola guitarra que estás escuchando… y por su puesto con el increíble tono y vibra de Juan.
