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Paul at the helm

The studio section gives an explanation of what I bring to a recording session.

For a list of gear listed below. There is also a list of Equipment for sale


The following quote is from Sandy Burnett of Saskatoon Recording

"Making a record is like constructing a building.
You start with the blueprint; that's your song.
You lay foundations; that's arranging.
You create the basement; that's rehearsing.
You build the ground floor; that's your bed tracks/basics.
Each subsequent floor is an overdub.
The top floor is your final mix.
The penthouse suite is mastering."

I have my own list of ingredients that seem important to consider as an engineer and producer. Like the last set they are built upon each other and can't stand on their own without each layer in order.

The most important ingredients in a successful recording are:
1. Good material / Good arrangements (Really; why bother with a song or tune that's sub-par? Test market to a target audience if you have doubts. Pre-production will weed out material not ready or in need of better arrangements)
2. Good performance (This is pretty self explanatory, your first take may not be your best)
3. Good Room (This one surprises people. Yes there are many fancy plug-ins and machines to create ambiance and eq, but it is not a fix for a bad room.)
4. Good Gear and Knowledgeable use. (the best gear will bring out all the details and subtleties of a steps 2 and 3 but only if used artistically and with good technique.)


The following quote from Jeremy Krull nicely sums about what pre-production is all about.
1. "I try normally to work with the group or artist to make sure that at the very least all of their songs are written (and to a point of completion that the artist is satisfied and committed to)
2. Depending on how dense the songs are, we'd at least try to hammer down most of the major arrangements (especially the 'essential' parts, whatever the artist has in their head as something that sticks out)
3. Demos, at varying degrees. A lot of the time if I've started with working with a group or artist beforewe go into the actual studio, they'll be sending mockups over of songs and ideas. I don't know what use that is to everyone else, everyone goes about it differently, one thing I try to avoid is rehearsing/writing in the studio. My need for preparedness doesn't really stem from wanting to save money on studio time, but more that I want the talent to be as comfortable and at ease with what they're doing as possible (and not having to worry about fundamental stuff that late into the game either)."


THE ROLE OF THE PRODUCER: Producer (pro-doo! cer) n. 'Someone who sits in a studio control room and periodically freaks out. Never eats, sleeps, or goes to the bath room. Occasionally will eat your pizza.' But seriously, at most sessions there is one person who has the final word about musical things. A producer decides things like the tempo of the song, which take of a particular performance is the "keeper", what the general sound of each instrument should be, how are all the instruments best combined during mixing, and with what kind of effects. He has to be as reliable and constant as a CEO, and treat the job like he's running Nestle, o2 or Sony ...it is hard work keeping all those musicians in line! It is his job to oversee the recording project as a whole including the setting of budgets and devising a plan-of-attack to produce the recording within the time and financial constraints.

Hiring a producer can greatly enhance the quality of your project because he/she functions as an objective, fresh set of ears. The producer's job is to constantly evaluate the recorded performances with respect to how they fit together to create the best, most creative, end product. He is supposed to work with "big picture" in mind at all times, taking the information given to him by the performers as to what their overall intentions are with their music, and using that knowledge to create the final mastertape.

Editing and Mastering

After mixing you will need to put all the songs in the correct order and decide how much space should go in between them. This is called "pacing" the album and is part of the process known as Mastering. Sometimes songs will need an internal edit in order to reach a particular target length or shorten an intro. You can even combine portions of different mixes and takes to create a composite master performance. You can also change the relative loudness of the songs individually, or tweak the tonal balance (EQ) so each cut flows smoothly into the next.


The studio is equipped with:


  • AKG C28 w/ck1 capsule, w/Red B7 capsule and /Blue B6 lollipop capsules
  • AKG C452EB w/ck1 capsule The Red and Blue caps also fit this mic and the mic below.
  • AKG C451EB w/ck1 capsule
  • AKG 1200e's (2)
  • AT 4050 (2)
  • ATM 25
  • AT 808G
  • Blue Babybottle (2)
  • Blueberry
  • EV 408's (2)
  • EV N/D 967
  • Josephson C42 (2) A Matched Pair
  • Marshall 603 (2)
  • Sennheiser K3
  • BSS DI (not pictured)
  • Imp 2 DI (not pictured)


    Converters & Preamps:

    hardware stack


    • AKG 240M headphones (2)
    • MoreMe Studio Deluxe (2)
    • AKG 414 Headphones
    • Tannoy PBM 8 monitors

    Recording and mastering software:

    • Cubase 6
    • Wavelab 7, Mastering and CD burning software
    • Waves Mercury bundle plugins

    Amps and Instruments:

    • Fender Blues Junior
    • Fender>rumble Bass amp
    • 1732 Joannes Schorn Violin
    • 2003 Scott Marckx Violin
    • 1980 Martin M 38
    • 1938 Epiphone Blackstone with Handwound Kent Armstrong pickup
    • 2016 Epiphone Dot
    • Yamaha SE1230 electric guitar
    • Lawrence Nyberg Octave Mandolin
    • 1924 Gibson A2 Mandolin
    • 1924 Gibson TB4 Tenor Banjo
    • Harmony Roy Smeck Concert Uke
    • Ibanez SR500-BM Bass Guitar

    Equipment for sale:

    • 2003 Scott Marckx Violin $9,000.00
    • Mics

    • AKG C28 vintage tube mic with w/ck1 capsule, w/ Red B7 capsule and /Blue B6 lollipop capsules
    • $2,800. for mic, cables, power supply, and B6 (C12) and B7 (U48) caps
    • The Red and Blue caps also fit the 451's below.
    • AKG C451EB w/ck1 capsule $350.
    • AKG C452EB w/ck1 $350.
    • AKG 1200e's (2)$40 each
    • ATM 25 $120
    • AT 808G $80
    • Blue Babybottle $350
    • Blueberry $600.
    • Sennheiser K3 Omni $150.
    • Preamps

    • Peavey VMPII Stereo Tube preamp $750.


    • Monitor

    • MoreMe Studio Deluxe (2) $35. each
    • AKG 414 Headphones $50.

      Odd Sods

    • Music stands (3) $20- $30. each
    • XLR female to 1/4 TRS male cables (8) $15. each

    Get your strings at Guitar Strings and Beyond
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    Glitchless Productions, #20 Willow St. Saskatoon, Saskatchewan S7J 0C2 (306)381-3135

    Page last updated on OCt. 5, 2016

    Web Page design by Dave Marshall