Back in 2007, I started a punk band called Sakes Alive!!.
The “band” began only with myself, and a couple friends kind enough to play on the demo recording. My two friends agreed to a fun weekend at the studio – nothing else.
That summer weekend in 2007 was fun. We recorded three wily and loud punk songs at a studio in Syracuse, NY.
From there, I was able to show friends and strangers alike the vision I had for the band.
Because of that demo, online music sites agreed to showcase the band. I was even able to find band mates to join as well.
On top of all that, that demo got us a slot on punk rock’s most beloved festival – The Fest in Gainesville, Florida. A festival where thousands of punk rock fans travel to see hundreds of bands play.
And Sakes Alive!! won a prime slot on the main strip through the city. We played to a packed club.
In four months, that recording helped me find band mates, win fans, and book a slot at the most revered punk festival. And the band had played less than five shows by that October.
The band accomplished that with a single three song demo.
That’s the power in recording your music.
As an artist, recording and releasing your music is what everything else relies on. The record helps you to:
- Book shows
- Sell merch
- Connect with friends, other bands, and beyond
When you choose to record at Brass Palace, together we focus on honing your music to be the best it can be.
It goes beyond just hitting the record button. As your engineer, I’m focused on delivering what’s best for your music. That includes:
- Recording the best takes possible, without squashing enthusiasm and momentum
- Producing ideas and suggestions to help your songs grow
- Editing, such as timing and pitch, while preserving your performance
- Mixing your tracks for the greatest power, presence, and clarity
My philosophy in the studio is all about momentum. Recording sessions should capitalize on your enthusiasm and energy.
We want great takes, but we don’t want to spend 100 takes to get them.
I focus on what’s great and what’s solid. If the take is in the pocket, we move on.
If something needs improvement, we’ll touch it up and get it right.
And if a take is so close to being perfect, and just needs a little nudge, I can take care of that.
If you’ve ever recorded, I’m gonna bet you’ve experienced both of these situations:
The first is the session where you agonize through take after take, trying to get that perfect one. It feels like it just won’t ever happen, and your morale is sinking.
It seems like everyone is staring at you in the studio. You’ve played these parts a hundred times before, why are you having a hard time right now?
The other situation is when everyone was a bit too relaxed. You recorded a part that was less than stellar. And now that performance is there, forever.
You felt at the time that the part might have sounded off, but everyone told you not to worry about it. Now you can’t bring yourself to even listen to your own recording.
My goal is to avoid both.
Your input is key to your mixes.
I always work on edits and mixes alone to start. The reason is because editing is super boring to sit through, and mixing is a flow thing.
I have to get the tracks jiving together before inviting more cooks in the kitchen for seasoning.
So I work on both editing and mixing outside of the recording session. Once I have preliminary mixes set, I’ll forward a Dropbox link your way.
This way, you can check out the tracks in your natural listening environment. On speakers you’re used to listening through.
Once you’ve listened to the tracks and have had time to digest them, it’s time for revisions.
Every initial mix includes two rounds of revisions. You’ll write down any changes you feel are necessary, and email me with all your notes in one succinct email.
I’ve found that two rounds covers everything that might need touching up.
You’re never left feeling like you didn’t have a say in the sound of your record.
The black art of mastering is an absolute necessity. This is the stage where the mastering engineer puts the finishing touches on your record.
Mastering is so necessary. You and I have been so involved with the details of the recording and mix, we don’t have any sort of fresh perspective on the mixes anymore.
We need an outside source, a trusted source with fresh ears to give the thumbs up on the final release of the record.
I never master my own mixes. Honestly, I think any engineer who does is doing a disservice to the record.
Instead, I have a long and trusted relationship with Azimuth Mastering from New Jersey.
And Azimuth’s costs are always included in the cost of your record.
Does that all sound good? Good.
Brass Palace’s rates fall into two categories:
$25 / hour for recording
$200 / song for mixing
If you’re recording a three song EP, the mixes would cost $450 for the three tracks. Tracking would cost $25, times the amount of hours it took to track.
If it takes 4 hours, it’s $100. If it takes 40 hours, it costs $1000.
I always want to get to know potential artists before ever exchanging cash.
If you’re considering Brass Palace for your project, let’s chat!
Fill out the form below, and I’ll get back to you within 24 hours:
Questions? Email me here.