Check out the studio blog page too!

Yo! I've been blogging quite a bit on my studio's site = myspace.com/welcometo1979 . So please check it out to learn more about what's going on in 1979!

Here's an updated pic:

7:05 AM - 0 Comments - 0 Kudos - Add Comment

My New Studio-
Current mood: accomplished

Well, I finally did it! I opened my own studio. Its geared to cater to rock bands who are sick of recording in small cramped basements one person at a time. This is a very large, (7,000 square feet) yet intimate all analog studio. Its chalk full of vintage gear- from the 1978 recording console to the 2" tape machine and vintage mics.

It is by far the largest, best equipped studio that an independent band (on an independent budget) could ever hope to afford. PLUS- there's even rooms that are dedicated for band members to use as sleeping quarters! Bye-Bye hotel room costs, hello 1979!

Check out the pics, and the myspace page myspace.com/welcometo1979 and let me know if you have any questions.

Dig it!

-Chris

10:33 AM - 8 Comments - 10 Kudos - Add Comment

Some interesting sessions!!!
Current mood: accomplished

I spent the last couple of weeks in Louisville and Minneapolis tracking/overdubbing Weber (KY) and Irie Sol (MN).

The recordings took place outside, at the artists’ houses, and in a barn. Check out the photos in my pics- you can see Weber photos under the album "House Calls" and Irie Sol under the album "The Barn".

Enjoy!!

-chris

7:31 PM - 1 Comments - 0 Kudos - Add Comment

Tony Armani on Lightning 100 all this week!
Current mood: accomplished

One of my favorite artists that I worked with last year, Tony Armani is featured in this weeks' Local Lightning Spot on WRLT Lightning 100. They'll be playing 'Secret Room' and 'Never Say No' from his 2007 release 'Secret Room'. You can hear Tony by tuning in to Lightning 100 around 2:30pm and 8:30pm until Feb 6th, or by going to his page on my site.

Thanks WRLT for supporting the independent artist!

-Chris

8:37 PM - 0 Comments - 0 Kudos - Add Comment

Recording in a Cabin...yumm!

Most of my July was spent recording a few albums in a cabin in Northern Wisconsin.  I thought I'd share a few pics with you, so i created an album of "cabin recording" - so go to my pics!

-chris

9:48 PM - 4 Comments - 8 Kudos - Add Comment

new article in EQ Magazine
Current mood: chipper

I've been writing a few industry magazines for several months now; most recently for EQ Magazine, which is a national recording magazine with a very (very) large subscription list.

I meant to post a blog for my last few articles they ran, but I missed when they had them posted on their site. 

I finally got my timing right- enjoy:

http://www.eqmag.com/story.asp?sectioncode=36&storycode=17499

chris mara

2:35 AM - 3 Comments - 8 Kudos - Add Comment

Finally! New Music Posted!!
Current mood: bouncy

Well, I finally got off my ass and posted some music from a few of the projects I've been doing lately.  Take a listen to the new songs, I really hope you enjoy them- them's some good artists!!

I recorded/produced Drift Effect's full length in January at Pachyderm Studio in Cannon Falls, MN.  You can check out some pictures here.  I'll post other clips ASAP.

I recorded/produced Red Veda's EP in September at Winterland Studios in Minneapolis, MN.  You can see some pictures from the sessions, and hear some other clips here. 

I recorded Consumption's full length in November at Darkhorse Recording in Nashville, TN.  You can see some pictures from the sessions, and hear some other clips here.

I recorded Eliza Blue's 8 song EP in early February at a cabin in northern Wisconsin.  You can see some pictures from the sessions, and hear some other clips here.

Thanks for reading, looking and listening.  Let me know what you think of the artists- and feel free to pop over to their sites and drop them a comment or message, they'd love to hear from you!

Chris Mara

Nashville, TN

www.chrismara.com

4:07 PM - 3 Comments - 6 Kudos - Add Comment

Limits
Current mood: devious

I really like this article....it was published in Rift Magazine (Minneapolis, MN) as well as in Tape Op (National).   Enjoy:

Limits

Admittedly, this is a hypocritical topic for me to write about- I'm the first to tell you that I don't like limits, especially the speed type.  But, as I sit here listening to a record (yes, an actual vinyl disc thingy that's spinning on a turntable) it's gotten me thinking about some things…like limits.

A record is about 45 minutes long, which is a physical limitation of the medium.  As an artist making a record you had to be aware of that limitation from the very beginning.  So dig this, it's really cosmic man:  (sorry kids- the record is from the early-seventies…the hippie dialect is bubbling to the surface…) If a guitar solo is really long in one song, for instance, the whole record can be affected…another song is going to have to be edited, shifted in order to fit on the other side, or dropped all together in favor of a shorter song that will fit on the record.  The artist has to be tuned into the big picture- that he or she is making a record – not just putting a bunch of songs on a shinny 80 minute CD.   I think this is one of the reasons why there are so many great records; the limits of the medium really forced artists to make the best out of the 45 minutes they were allotted, instead of the now-all-too-common shoulder shrugging comment "put them both on there- if they don't like it they'll skip over it."

Wait!  There's more!  Let's take a look at limits while recording.  First of all, this whole "unlimited track count" thing has been rubbing me raw for a long time.  What's wrong with 24 tracks?!?  No, this isn't the typical "The Beatles recorded on a four track" argument- that's lame.  Here's why: 1) they're The Beatles.  They could've called the radio station and sang a song onto the answering machine and it would have been a hit.  2) Everyone else at the time (who could afford it) was recording on a four track too- it wasn't some "back to nature" hippie thing.  3) A four track was four times the number of tracks previously available to artists.  Moving on: a million and nine (roughly) records were (and still are) made on 24 tracks or less.  This limitation forces the question: "is my idea of adding a whale sound in the second verse worth sacrificing my three part harmonies in the bridge?"  It's a lot like the length of a record situation.  One thing affects another- the better song, the better idea, the better performance wins.  It's like some sort of über-cool natural selection theory.  Hmm- maybe "Mara" is Latin for "The new Darwin."

My desire to explore the positive aspects of limits in the studio is limitless. Ironic, huh?

Next up: Time.  I'm all for budgeting enough studio time for the process to take place. No one wants to be in the "now or never; do or die" situation- those are best played out in John Wayne movies on AMC.  However; I think the "studio in the box" propaganda machine has overlooked the negative aspects of what can happen when you have total access to exactly where you left off on a project, 24 hours a day, 7 days a week.  Without limits it's even easier to get lost in the process; because the process has no defined boundaries.  Artists tend to get bored with their projects, and start to wonder if a cowbell is the answer.  Contrary to popular belief- cowbells do not cure any type of fever. Ever.   I'll be the first to admit that I, on occasion, have mixed a song for a few hours too long.  Yes, I've done the unthinkable- I've actually mixed the fun out of a song or two in my day. It's kind of like the old adage, "It takes two people to paint a perfect painting…one to paint it, and the other to shoot him when he's done." Without restrictions we just keep painting until the canvas is black. The solution?  Limits. Now I keep an eye out for those special songs that require a short, off the cuff mix and limit the time I spend on them by having my assistant mix them.

                                                 (That was a joke, folks.)

I know "Hey come record with me, I'll show you limits like you've never seen!" isn't something you want to hear from a producer or engineer – but the true lesson here is that limits really can be useful.  They force the best out of all of us.  Having a limit to the number of songs on a record demands better songwriting, having limited track counts forces you to learn how to be a better recording artist.  The fact is; limits force us to make decisions.  I've come to the conclusion that decision making is becoming a lost art. (Well, I think they have, I don't know- what do you think?)  Often times I see creative energies drained by listening to take after take after take (after take), instead of making the decision "I can beat that" right away and moving on.  Working within limits can create really cool heart pounding moments too- there's nothing like beating a performance by recording over it. Decisions like that really snap you into focus and lead to better performances, along with a huge sense of accomplishment.  These limitations also give you the opportunity to listen to your 24 tracks (or less) on playback and ask "Is this working? Is my message getting across to the listener?"  If not, these same limits allow you only a few choices: 1) live with it. 2) mute something or 3) do it again.   Really those aren't bad choices to live by - because, and let's be honest, when was the last time adding a backwards cymbal to a song really solved anything??

Chris Mara

www.chrismara.com

www.myspace.com/chrismara

9:31 AM - 8 Comments - 14 Kudos - Add Comment

Take What It Takes
Current mood: creative

Take What It Takes.

Far too many times I've had artists apologize to me for taking too long in the studio to record a basic track, guitar solo, or vocal performance.  "Don't worry about it" I say, "pure nonsense, absolutely no apology required."  It's very hard for me to convince them otherwise because I tend to get very adamant on the subject. (Can you tell?)  Often I stop short of making my point for fear of coming off a bit patronizing – like I'm patting them on the head and saying "it's ok- you done real good Jimmy, real good." You know- like how the mob guys talk to the one slow, oversized cousin who tries real hard but keeps whacking the wrong guy.  It's hard for me to articulate my point, because it's simply what you do when you're in the studio; you do it until it's right.  That's one of the reasons "outside people" usually aren't encouraged to be in the studio while recording; they may misconstrue recording take after take as mistakes- not as a natural part of the recording process, as well as making the artist self-conscious about how long it's taking. 

I consider working very hard to get the right performance a victory, not something that requires an apology.   I've been sitting here thinking about some of the records I've worked on recently, and I can't even begin to count how many times each particular instrument was recorded over and over before we had "the one", but more importantly, I don't care- not one tiny bit.  That's the process.  You work and you work until you get real close- then you work some more.  No one should count the number of takes, or how many times a certain part had to be punched in, let alone the artist.  You take what it takes to get it right, and nothing more should be said about it.  It would be like asking a painter how many brush strokes it took him to complete a painting- he'd probably look at you like you're an idiot and reply "Who counts such things?"

On the flipside, I often get handed CD's and hear the phrase "we did most of the songs in one take".  Once I even heard a drummer boastfully add "or less".  (Do the math and you'll realize where all the drummer jokes come from.)   Sadly, most of these "one take wonders" sound like the band should've taken another take (or ten).  Which leads to the obvious question:  How many takes should it take?  In my quest for the truth, I tracked down Mr.  Owl from those old school Tootsie Pops® commercials; I figured if he could cut to the chase on the whole "how many licks does it take to get to the center of a Tootsie Pop" debate, he could help me out with one wing behind his back.  But, even he didn't have a clue, so I'm sure as hell not going to pretend like I have the answer.(although when I caught up with him, he was with Woodsy the "don't pollute owl", and they appeared to be all hopped up on X…c'mon, just look at those eyes, staying our all night "hunting", sucking on lollipops hanging from a homemade necklace, who ya tryin' to fool, Mr. Owl.)  All I can say is that it varies.  It varies artist to artist, song to song, and day to day.   We've all walked into a bowling alley and threw a strike, and not been able to throw another for the rest of the game; or cleaned up at the pool table for a few games then not be able to make a shot for what seems like forever.  There's no rhyme or reason to it, and thinking about it only makes it worse.  If you don't believe me- the next time you're walking across a room, start thinking about walking for a minute- you'll suddenly feel like a Clydesdale.  (for you non-equestrian types out there….those are the big-footed horses in the Budweiser commercials.)

The only advice I can give is to leave all that crap at the door.  If you get to the studio every morning with such questions on your mind, it's going to be a disaster waiting to happen.  Do yourself a huge favor- don't count your takes, don't count each other's takes, and be confident enough in yourself (and your band, engineer, producer, interns, etc) that it won't be brought up outside the studio walls either.  Like the ads say "what happens in Vegas stays in Vegas." To help keep things on a positive note, try changing the obligatory "I'm sorry, let's do it again" to a different catch phrase between takes, like "hit me" or "bring it!" (it sounds lame- but it really works!) Further more, no professional engineer or producer is going to get frustrated with you for wanting to get it right, and you shouldn't get frustrated at them for asking you to do it again- that's their job.  There's no real badge of honor in getting it done on the first take, and no shame associated with nailing it on the one hundredth take - so focus on embracing the process by getting yourself ready to deliver a great performance, then listen for ways to improve your performances as you go.  Sure, this may lead to you performing and hearing your songs so many times it makes your ass hurt- but hey, that's recording.  So hunker down for the long haul, take a deep breath and resolve to take what it takes.

You'll have a better record for it.  

Chris Mara

Nashville, TN

www.chrismara.com

www.myspace.com/chrismara  

12:01 AM - 5 Comments - 10 Kudos - Add Comment

Rejection.
Current mood: bouncy

Rejection.

This article isnt really about stuff that happens in a recording studio, or anything to do with recording at all really- so if you were all stoked to read about a stripper being carried around a control room on a saddle, too bad. (But let me tell you this: it was awesome!!)

Anywho-sometimes my "topic du jour" surfaces through conversations I have with bands.  Sadly, this weeks thesis is a little light on strippers.  Actually the theme that did emerge was rejection

Weve all heard the saying that rejection is a part of life- usually right before you get rejected; its like some sort of sick joke or something. You know, like Lou Gehrig dying from Lou Gehrigs Disease; what are the odds? Seriously though, being in the music industry as an artist kicks the rejection thing into overdrive.  You really have to be able to deal with it, and the best way I've found to do that is to use it to your advantage.   Huh? Read on kiddies- I haven't gone crazy yet.

If you're in a band and you not dealing with rejection it means one of two things: 1) youre Sting. (why Sting?  His wife brings chicks home for him to "play with"-the man hasnt been rejected in over a decade) or 2) you're not in a band thats trying to go somewhere.  It's that simple.  If you're not getting rejected several times a day- then you're not trying to reach the next level for your band.   Personally I'd love to tell you that I dont have to deal with rejection as an engineer, producer, or even as a writer.  I do, and I deal with a frickin' metric ton of it on a weekly basis.  (think elephant) Am I ashamed of it?  Hell no, it's just part of doing business, part of life, part of relationships, part of the human condition.  Heres what I've learned about how to deal with it as effectively as possible without ending up in a padded cell:

Have a rejection quota- Why not add rejection to the long list of things we humans dont understand but compulsively measure and document- like gravity (we don't know exactly what it is, but we know how much of it is on Pluto-a planet we will most likely never, ever visit.)   As a band-set your own weekly rejection quota, a.k.a RQ.  For starters, set your RQ at no less than 15 times per week.  Have some fun by breaking it down a bit- RQ by clubs 5 times per week, by labels 5 times per week, and by the press 5 times per week.  This will help you stay on the phones and actually look forward to rejection, since you'll be getting a nice variety.

Make sure youre getting rejected by the right people- This is huge.  Now that youre getting a belly full of rejection- its time to analyze it a bit. This will help you to determine if the right people are rejecting you.  A rejection from Capitol Records in Nashville won't count towards your RQ if you're in a rock band-you're simply barking up the wrong tree.  Knowing why you got rejected will really help to figure out how not to get rejected in the future.   If you're constantly getting rejected due to things like genre, you need to make some changes in who you're asking to reject you. (see- this is FUN!) If your band does only original music and you're getting rejected by clubs who don't book original bands- find clubs that do and start getting rejected by them instead.

Ask questions in order to turn rejection into a relationship- Being in a band is a lot like being a stalker. (or so I'm told) If a club rejects you, for instance- ask what the basis for the decision was.  Poor draw expectations? Press kit issues?  Demo quality?  When the rejecter gives you an answer- ask (or figure out) what you can do to overcome the issue.  This will hopefully lead to a helpful conversation- so be cool.  Keep your mouth shut and listen to the input- don't argue with him/her, simply write down what they have to say and see if you can make those changes in order to play the club.  After you make the suggested changes, you'll be surprised at what will happen when you call back and say "hey Joe Clubowner - we spoke last month and you didnt book us due to X. Well, we took your advice and now have Y- do you want to give us another shot?"  Same goes for labels.

Strive to get rejected for the right reasons- Do what? Once you start identifying why you're getting rejected and take the necessary steps to avoid future rejection for the same reasons- and start looking for the times you are rejected for the right reasons.  This may seem like splitting hairs- but hey, thats what nuclear fission is all about! (no wait, thats splitting atoms)  When you get to the point where youre getting rejected by a club due to a scheduling conflict, or a label due to the fact that they already have an act similar to you- these are really good signs!  Its like getting shot down by a girl at the bar because shes married.  Shes all "I'd love to, but I'm married." not "get away from me- you smell like feet." 

Its all about finding the Rejection Zen of being rejected by the right people for the right reasons.  That usually means that you're being rejected based on an informed decision, not based on a misconception about your band.  Once you successfully obtain feedback from people that have rejected you in the past, you can make decisions about which things to change to achieve your goals and which things not to change in order to keep your artistic integrity (like that nifty pony tail).   Not everyone you deal with is going to be kind enough to let you know why you were rejected, so the fail-safe on staying sane and avoiding burnout is to judiciously use the following advice:  sometimes things don't work out like you plan because shit happens due to other people's shit, so. DONT TAKE IT PERSONALLY. And by the way, if anyones curious, my RQ has consistently been measured north of 160. Hell, I'm practically a Rejection Savant.

Peace Out.

Chris Mara

www.chrismara.com

www.myspace.com/chrismara

11:27 AM - 11 Comments - 17 Kudos - Add Comment