Here you can see a few photographs of how we started our recording using the Casio SK-1 for click tracks to lay down the foundation for the songs we will be developing. We used our AKG C-12VR Vacuum Tube Mic run into our Millenia Stt-1 for this signal path to Pro-Tools. We found this path gave us a great recording of the full range and realistic quality we wanted to capture coming out of the built in 2" Casio speaker. As soon as we have the Casio recorded, we then will use beat detective to make our grids. As soon as the grid is in place we can start adding all the cool guitars and basses we will be recording with. There will be an exciting list of guitars and amps used as the sessions continue.

Session Notes :

Tom Peloso : Recording Artist

Abel Okugawa : Engineer

Raphael Wintersberger : Engineer

And to top it all off, Blake's uncle and his daughter opened up a juice shop with fresh mangoes, peaches, and pineapples and more right out back!

(They were also joined by the infamous Piggy, but the camera was nowhere to be found at that time.)

Here is the interview:

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1. Can you briefly discuss the history of your engineering at Inner Ear
Studios.

I started off with the control room in the porch of my home in Arlington, and recorded the bands that played in the basement. From there, built a control room in the furnace room of my basement with the band playing in the next room. With this, we moved into the large commercial space we are in right now. Bigger rooms for recording and for gear!

2. Over the years, are there any highly memorable moments in the Studios that you can recall ?

There are MANY memorable moments. So many that it would not be practical to isolate one or two (or ten or eleven). Plus, it would put undue emphasis on one session or style of music. As you know from studio experience, engineers are required to record many styles, instruments, groups, etc..I have recorded everything from a mime (no typo), to a symphony orchestra, to a zoused conductor. Dozens of ethnic styles. Many instruments I do not know the names of. So, there is no top ten, top five, or even single event that stands alone.

3. How do you feel about helping shape not only the Virginia/DC underground music scene but also the greater American underground music scene via your role at Inner Ear Studio ?

Surprised. There was never any global plan, other than record as much as possible.

4. The D.C. punk rock movement that you were an integral part of was recognized for it's intelligent and political stances as well as for fostering positive lifestyles. Do you think that you still see that same energy present in the current D.C. music scene ?

Yes.

5. Can you discuss your feelings about DigiDesign's ProTools configuration.

I have used Digtal Performer for years. Just the other day I bought a Pro Tools LE 002 system, so it's very new. The word "configuration" gives me the willies. But let's talk a little bit about resolution. At the forefront of all digital setups specs is the data pertaining to resolution. Let's even include bit depth (12, 16, 24, or 32 [or more). I have heard music and voice at 44.1 and 48 and 88.2 and 96 (192 not yet), and have come to the conclusion that the higher number is not always the best. Indeed, we can think of resolution as the "blend" factor in music - with lower #s giving better blending, and higher #s giving less blend but more detail. For it is the extreme detail that is crucial to be managed in music, especially rock music. The sound of a lot of vingage gear is appreciated for its smoothness (read: blend), and less for the detail. So, a kick drum that plays back with a little less attack, or a voice that is slightly distorted can serve the medium well. If we're talking about the benefits of ANY digital recording program, then list editing as a strong plus. And also, stored media space (providing the hard drive works the next time you play it back). Analog has a smoothness that tends to glue the song together a little better than digital.

6. From your perspective as an engineer, what are some of your favorite musical recordings and what makes them great ?

I believe that a great recording (or art, in general) pushes the viewer/listener to new places. As for my favorites.... let me think.... a good song, effective use of harmony and scales, nice interplay between the instruments. For example, I favor recordings by the Byrds, Squeeze, the Zombies, the Kinks, Rockpile, Elliott Smith, and the classical recordings of Debussy, Holst, and Copeland.

7. List what you think lends to a great recording studio experience.

From the engineer's point of view? An artist or group that has their shit together: songs organized and rehearsed, arrangements all worked out, instruments in good shape, preproduction all done, ideas fleshed out and discussed with the other members, and a sense of humor appropriate to the profession that they are in.

8. What does the future hold for your own songwriting and performing ?

More songs (getting better as they go on) and more performing. I find that it's valuable to know how an artist feels when he/she performs (or writes, for that matter!).

The latest step in the bickering between Radiohead and Nine Inch Nails is last week's announcement by the Brits that they'll be encouraging fan remixes of "Nude," the second single from "In Rainbows."

Of course, this is one instance where Trent would absolutely get our vote in the Wired contest, because he's been doing this ever since he released "With Teeth" way back in 2005. In fact, he even had a highly publicized spat with his record label over concerns related to the launch of a web site specifically dedicated to fan remixes -- which he eventually won thanks to a "You can't stop me" approach adopted right around the release of "Y34RZ3R0R3MIX3D," a remix record made up of songs from "Year Zero."

Now, Radiohead is also doing their own remix site for "Nude," but there are a couple of differences. First of all, they're providing users with individualized MySpace-compatible widgets with playback and voting functionality, and offering their own ears as a prize to the highest-voted remixes. Strangest of all, however, is the means by which the multitrack stems are being delivered: you have to buy them individually from the iTunes Plus program, which means it'll cost would-be remixers a few extra bucks to get the material, and also that they're already compressed and the sound quality will take a hit as a result.

However, it's also worth noting that while access to the multitrack files was free for the singles from "With Teeth" and "Year Zero," getting them for "Ghosts I-IV" requires the purchase of the $75 special edition -- officially, at least.

Already we're bumping into these while just browsing some of the studio-centric sites -- Todor Kobakov's string quartet is one particularly cool example. Given the respective popularity of each group, there may well be an outpouring of remixes that far outpaces what Trent's efforts have prompted so far.

You're still here? Stop reading this post already, and go fire up Garageband! Or you can give us a call if you want ProTools and are feeling ambitious...