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As a self-produced artist, mixing has always been such a beautifully stressful process for me.  It usually takes place as the budget is running out, so each decision counts because there’s usually not enough funds to remix.  And if you don’t love the result, then the song has to be remixed or you won’t love your album.  This would be easy-peasy if I was willing to mix “in-the-box” as they say, but my ears always prefer an analog mix. No last-minute tweaking for me.  I prefer the pressure and excitement that an analog mix offers.  I also did most of my first records at the Hotel2Tango, and this is how Radwan works.

It’s been a while since Radwan Moumneh and I mixed Gold Rings and Fur Pelts so I forgot just how much pressure I feel when making concrete decisions for the album.  Mixing an album typically takes over a week…Gold Rings was mixed in 3 days.

Radwan is a monster mixer in his ability to work under pressure.  We did 14 hour days, and then Radwan left for a month-long sojourn to Lebanon on a 5 am flight the next morning. This guy knows how to get things done and make every song shine.   And his project Jerusalem in My Heart is amazing.  He’s got a really beautiful voice.

I recorded a lot of the Gold Rings vocals at home on my Audio Technica 4047 (which Radwan had recommended…and I still love this mic) and a Mackie sound card.  I focused less on the sound and more on the performance.  Looking back, I had no idea about using class-A  preamps or fancy converters.  I learned about those aspects of production for this new record, and the sounds I was able to capture really paid off.  This time around, I got both the vocal performances and the sounds to shine.

I had a few friends give me excellent production advice along the way:  Bob Oliver, Martin Rodriguez and James Finnerty. Not to mention Dimitri Condax, who continues to help me in these final stages.

I’m mixing A Golden Grin with Mark Lawson.  I first heard of Mark through Montreal bands like The Unicorns, Black Feelings and Saltlands, and when I heard Basia Bulat’s Long Tall Shadow and Timber Timbre’s Creep On Creeping On, the mixes floored me.  They were as noticeably beautiful as the music.  So when we decided to work together, I was pretty excited.  He’s a heavy hitter.

So far we’ve mixed 7 out of 9 songs. We’re working on Who Can I Run To, which Sam Shalabi did an amazing string arrangement for.  Some of the string players from Warhol Dervish played on it.  The vocal is so present and the instrumentation so moody and sparse, this is a far trickier song to mix than I had anticipated.  Once we finish that, there’s just one more to go. I just can’t wait to get everything mixed, and then I can finally hear this lbum.  I’m going to (hopefully) master them in June as well as filming a music video for Under the Radar.

This June is going to be a musical month. Aside from mastering and music videos, I’ll be attending the Suoni Per Il Popolo festival as much as possible.  There’s an insane lineup this year, check out the program here.

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A Golden Grin


Hello all and happy 2014! I realize it’s been a while since my last post…but with very good reason. I’ve neglected my friends and family, set up in my home studio listening, editing, doing test mixes and spending hours writing emails in both French and English (try writing in French on an English PC…it takes hours to use all those alt+ codes…I even accidentally learned some weird symbols like musical notes in the process) trying to get things together for this release.  Probably wasted some time updating my facebook as well if I’m being perfectly honest.

I would like to announce that I was extremely thrilled to work with engineer Mark Lawson on a recent test mix and we have plans to complete the mixing in early March. He’s mixed some really amazing records…which was how I became a fan initially (he produced Basia Bulat’s Tall Tall Shadow…a really sonically beautiful record…and I instantly looked up who the producer was). So being able to work with him is a pretty huge thing for my album. The working title is A Golden Grin which comes from a line in my tune O Pioneer: “Well you can steal something yourself/ Or you can buy it from a thief/ Who seals his lips to hide his teeth / A golden grin underneath.”

I definitely appear to have an obsession with having “Gold” in my album titles, but then again maybe this stems from my obsession with Greek myths–the golden apples of discord, the golden apples of Hippolyte, the golden fleece.  Originally I was planning on naming my record company “Golden Apple Records” instead of “Syren Songs” but my sister reminded me how litigious Apple Records was with Apple Computers in the late 70s (their court order stipulated that Apple Computers stay out of the music business, which is why the Beatles only made it to iTunes a few years ago). I did eventually redirect my obsession with gold to North America; I wrote O Pioneer after visiting Dawson City in the Yukon, which is still surrounded by tailings ponds and gold claims. A Golden Grin has a lot less to do with Greek myths than Gold Rings and Fur Pelts did.

I wrote a bunch of this material with the help of CALQ last year. I never would have been able to take the time to write these songs without them. I really appreciate their support. I’ll be publishing some of my lyrics to the upcoming record on my blog over the coming months, stay tuned!

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I just spent the past three weeks in and out of the studio and editing vocal takes. At this point in the year, it’s been just over 7 months of recording.  I got some really amazing stuff at my friend Bob’s place, using his vintage McCurdy mixer and tube pres in combination with some glorious ribbon mics. I rented the SE RNR1 from Economik as well as a Coles. Ended up using the Coles for main vocals on one song and back vocals on most. I’m hoping that out of 23 takes I did for “So Sad” I have the definitive one. Oddly enough, I think I’m leaning towards one of the first ones I did.

I’m definitely in love with the sound of the SE (for those of you who know who Rupert Neve is, it’s his first collaboration on a mic design) and it sounded amazing at Bob’s studio. I have been flirting with the idea of owning it…but only if i can resolve the fact that it picks up RF (Radio Frequencies) when I use it at home in the inexplicably saturated Plateau here in Montreal. I don’t understand why every powerful tube amp I’ve owned plus this mic sound great elsewhere…take ’em home to the Plateau and they’re unusable…but some fellas have attributed it to the fact that Montreal buildings weren’t properly grounded to begin with. It seems every sound engineer has their own theory, I’m getting more involved with gear and production as each year goes by so I find myself shooting the bull about these theories more and more often. Maybe one day soon I can beat that notorious bugger RF…and then the SE and I can be reunited.

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