In The Studio http://www.guitarworld.com/taxonomy/term/1208/all en In the Studio: Five Tips to Bring Live Energy Into Your Studio Recordings http://www.guitarworld.com/studio-five-tips-bring-live-energy-your-studio-recordings <!--paging_filter--><p>As the guitarist for <a href="http://www.kalenmusic.com/About">Kalen &amp; The Sky Thieves,</a> I had a great time recording our album, <em>Bluebird,</em> at the Bunker Studio in Brooklyn. </p> <p>I'm proud of the band's ability to bring our "in the moment" live energy into the studio. </p> <p>When it comes to music, I am most passionate about “feel,” “energy,” “mood” and “vibe.” The band used to laugh at how often I said “the moment” when discussing music, so much so that they turned it into a drinking game. Whether it was coffee, water in the car on the road or a whiskey later at night, if anyone said “the moment,” we’d drink something. </p> <p>Feel free to join!</p> <p><strong>01. Prepare.</strong></p> <p>Getting the mechanical aspects of a track down is of the utmost importance when it comes to effectively expressing the feel and vibe you want. My father is a professional guitarist and teacher, and I owe a lot to him (including all the times I stole copies of <em>Guitar World</em> from him as a kid!). </p> <p>He is always making sure to get his students actually excited about practicing. Aside from sheer energy, the other crucial part of preparation is making sure to know the tunes you’ll be playing inside and out. Once everything is second nature, real mood is conveyed by the piece and "the moment" is created (you know what to do). </p> <p>That confidence gives a feeling of freedom, not a feeling of, “Oh crap, I might mess this up.” Be ready to bring it 100 percent when the red light goes on. Check out our single, "Somedays," to hear the value in solid preparation:</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156145337&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>02. Don't worry about “perfection.” </strong></p> <p>While technical aspects might be dubbed “perfect,” one cannot say whether or not an emotion has achieved "perfection." </p> <p>If a guitarist is too busy worrying about playing/placing the notes perfectly, it's like the major league baseball player who starts aiming his pitches too carefully instead of trusting his talent. Obviously, the pitcher is talented, but by trying to be too perfect, it yields walks or hits, instead of a well-placed strike. </p> <p>Again, the mechanical knowledge should all be there, but when it is time to start playing, it’s time to "feel." Some might call it a "Zen thing." Allow the flow. It’s nice to get things on the first take, for sure, but remember, if you screw up this take, you will get another one—so just let go. That attitude can really free you and actually let you have less takes. Don't over-think, just allow it and be it. Listen to perfect imperfections on our debut single to see what I mean:</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156145355&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>03. Trust your engineer. </strong></p> <p>This was pretty easy for us, because John Davis at the Bunker is a stellar engineer. </p> <p>Choosing the right engineer is important. You want someone with a good ear, who you can communicate easily with. In the end, for the player to be truly in "the moment" (DRINK!), the player cannot be worried about anything but playing. A good engineer will help you decide if you need another take and will sometimes have interesting ideas about achieving sounds that can lead to new inspirations. </p> <p>A great example of this is the echoing/rumbling sound he got for my rhythm guitars in this track:</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156145349&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>04. Be in (and bring attention to) the moment. </strong></p> <p>So, here we are. Our concern is focused on how the notes make us feel right now. That is it. The now is the only important moment to be in. If you are true to yourself and your emotions in the song, you can’t go wrong. It yields authenticity and real feeling. </p> <p>A trick I use is to consider any take as a live performance—as in, not to have a pre-conceived notion of what I'm about to hear in my headphones, but to actually listen and play with it as if it were the first time I ever heard this take. This is especially true in solo sections. I came into these parts with a basic idea—a framework for where the solo would go. </p> <p>However, I feel they were particularly successful because I let the moment take over. Here's an example where it seems especially appropriate, as it deals with time:</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156145365&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe><br /> <br /><br /> <strong>05. Always have solid band camaraderie and listening.</strong></p> <p>This is a bit more spacious (but not specious!) to talk about. It goes beyond playing the guitar more than any of the previously mentioned points. We are but one member in this team we call a “band.” </p> <p>Forget showing off. Instead, complement and raise everything (and everyone) up. Always listen to everyone else, as “the moment” is shared. Being a good listener is related to band camaraderie. It can be rare to have a band that truly cares about each other, trusts each other, gives each other space, etc. </p> <p>That is something very valuable and the chemistry comes through in the music. From hours on the road to hours of rehearsal and shows, we built up a great trust, respect and a sense for helping each other. It's invaluable. We all help making everything take flight. That notion really comes off in our title track:</p> <p><iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/156145332&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe></p> <p><em>Will Hanza plays guitar in <A href="http://www.kalenmusic.com/About">Kalen &amp; The Sky Thieves.</a> Their latest album, </em>Bluebird<em>, is available now.</em></p> http://www.guitarworld.com/studio-five-tips-bring-live-energy-your-studio-recordings#comments In The Studio Kalen & The Sky Thieves Will Hanza Blogs Tue, 24 Feb 2015 14:36:48 +0000 Will Hanza 23584 at http://www.guitarworld.com In the Studio: Interview with Municipal Waste Guitarist Ryan Waste http://www.guitarworld.com/studio-interview-municipal-waste-guitarist-ryan-waste <!--paging_filter--><p>Richmond, Virginia's Municipal Waste have just entered the studio to record the follow-up to 2009's <em>Massive Aggressive</em>. We caught up with guitarist Ryan Waste earlier today to talk about the band's upcoming fifth studio, which is due out in early 2012 on Nuclear Blast Records.</p> <p><strong>Has the songwriting process for the new album been any different than previous albums?</strong></p> <p>We actually took a whole year off of touring to write a new record, and we've never done that before. We definitely spent a lot more time on it. </p> <p>On other records we'd be on the road, rushing everything, throwing songs together and not really overanalyzing anything. This time, we put everything under the radar, practiced everyday, kept writing and weeding out the bad stuff and improving on everything.</p> <p>I definitely think it's the most focused record we've done.</p> <p><strong>How would you compare this album to [2009's] <em>Massive Aggressive</em>?</strong></p> <p>I think it's funny that album's called <em>Massive Agressive</em> but this one's way more aggressive. I think this one's faster, more technical and in-your-face. We try to exceed ourselves every time to make it more intense.</p> <p><strong>Who's producing the new album?</strong></p> <p>We actually went up to Trax East in New Jersey to work with this guy Eric Rachel, who's been doing stuff since the '80s. He worked on the Skid Row record in the '80s and all these hardcore through the '90s. He's a real seasoned guy and real easy to work with.</p> <p>We tracked the drums up there and he's probably going to mix the record. We're tracking guitars and vocals down in Richmond and we're going to send the tracks back up to him. He's familiar with the songs now and we get along really well with him, so we trust him with the mix. </p> <p>I basically sit back and act as the producer on every record anyway. The band really knows how we want things to sound, so I wouldn't call [Eric] a producer, but more of an engineer that's going to do a mix. And we'll make the final call on what it sounds like.</p> <p><strong>What's your studio rig look like right now?</strong></p> <p>I'm using a Mesa Boogie Triple Rectifier, and I add a heavy metal pedal to that and blend the two distortions together. I'm running that through two Marshalls, like an old '60s cab and a more modern one, which is my live setup. We wanted to keep the sound basically like what we sound like live -- no real studio tricks or anything added.</p> <p><strong>What about your main guitar?</strong></p> <p>Guitar-wise I'm using my custom MW [Municipal Waste] guitar. I'm a left-hander so I never really got to have a cool guitar, like a real metal guitar, so I had one made. It's definitely "heirloom quality," which is what the luthier who made it likes to say. It's my baby. </p> <p>It's a piece of work though. It's a big body like a Flying V but it's really light and quick at the same time. </p> <p><strong>One of my favorite things about the band has always been the song titles. Can you reveal any of the titles that'll be on the new record?</strong></p> <p>I don't want to give away too much, but I guess I can give away a couple that I came up with. There's one called "Residential Distaster." I think someone messed up our band name in Canada and thought was the name of our band. [laughs] </p> <p>"What's that band, 'Residential Disaster'?" </p> <p>"Nah, Municipal Waste, but I'm taking that song title!"</p> <p>I got to write the lyrics to that one, that was really fun.</p> <p>Back in the demo days we wanted to name a song "Fatal Feast," which is like a cannabalistic space voyage where everyone gets eaten and the crew and the captain turn into cannibals in outer space.</p> <p>I don't want to give too much away...</p> <p><strong>Give me one more.</strong></p> <p>We'll do "Unholy Abductor," which is a short, fast little number. Real pissed-off sounding.</p> <p><em>The as-yet-untitled fifth studio album from Municipal Waste is due out in early 2012 on Nuclear Blast Records</em></p> http://www.guitarworld.com/studio-interview-municipal-waste-guitarist-ryan-waste#comments In The Studio Municipal Waste Interviews News Tue, 16 Aug 2011 14:28:31 +0000 Josh Hart 12317 at http://www.guitarworld.com