Bottom-End, Writings and Reviews from Music Producer Pete Strobl

What a great day I had today! Sadly, it was my last day in Salzburg. The Mozarteum workshop was fantastic and the ConFused5 cd release party was a most memorable night. So What destroyed the dressing room, drank all the beer and played their young asses off, Gisel de Marco proved beyond any shadow of a doubt that she’s got the goods and more, and ConFused5 treated the crowd to a polished concert version of their new album, Out Of Confusion.

So, back to my great day, Since it was my last day, I decided to walk from my room to the railroad station, normally a healthy 30 minutes. At minute 10 the mist had become a tolerable drizzle and the last 200 meters the sky opened with a personal vengeance. I know the vengeance part is true because it stopped raining moments after I reached the shelter of the station.

As it happened, the rain had increased my pace to the point that I was able to take an earlier train. My computer battery had gone dead just as I was checking into my flight from Vienna so this would get me to the airport in plenty of time to secure a seat in the exit aisle. Things were looking good.

When I hoisted my luggage onto the belt for check in, the representative handed me back my passport, smiled her sweet Viennese smile and told me that I had missed my flight by anywhere from 4 to 8 hours depending on the exchange rate at the moment! Damn it! With the damnable 24 hour clock they use over here I had misread my itinerary! No big surprise since Markus from C5 and I had been sorting out the world’s problems over beer til at least 47 o’clock the night before. This is the only place I know where you can ask someone the time and still have no clue without taking off your shoes to count out the hours.

And so, here I am, stranded in Vienna, not “in” Vienna but at the airport…the difference is eloquent. As I don’t fly until morning, I’ll listen to some music and try to think happy thoughts.

Speaking of happy thoughts, a quick look at the top ten artists on the Sellaband roster could mislead one to think that the label has become some sort of dating service. Of the ten, eight are females or feature females in their band. But to dispel any false impressions, these artists are in the top ten because they belong there.

The latest to break page one is Polish-American singer/songwriter Natalia Safran. While Natalia’s Carly Simon smile has surely drawn attention to her Sellaband profile, her songwriting and sultry delivery are what will ultimately define her success as an artist.

Natalia has surrounded herself with very capable musicians who have learned the art of accompaniment. The tracks display a mature and empathetic level of musicianship in that, even though the instruments are masterfully played, the intent to focus attention on the vocal is accomplished very naturally. The tracks are custom fitted to Natalia’s strength which is to deliver lyrics in a melodic, chant-like manner that makes listening to her a personal experience. Her soothing voice is free of pretense and the combination of urgency and innocence are charming.

While vagueness is not necessarily something to seek in writing prose, it can be the characteristic which sets a song apart for many listeners. A song isn’t complete until the final element of the equation, the listener, has heard and accepted the intent of the artist. When a song has mystery, when the listener is free to dress the characters of a story as he sees them, the artist has done much more than just perform a song. The singer has collaborated with each listener on a very individual basis and has let them decide how the story should play out.

Every successful artist has something special which sets them apart…let’s call it the X-factor for want of a better term. The ability to pull the listener into her stories is what sets Natalia apart and in context of her material, bombastic vocal pyrotechnics have high value by their absence. I would be curious to know what Natalia could do if she really put her foot to the floor but then again, that doesn’t seem to have anything at all to do with her music. I find myself wanting more from Natalia. And I say that this is a good thing because, as a listener, when you find yourself wanting less, you simply move on to another track, another song, another artist.

Natalia is touring Europe at the moment, but a listen on her profile page is well worth a click or two. It will indeed be interesting to watch the progress of what has become the Race of the Divas on Sellaband’s page one. One thing you can count on, there will be no losers. And thanks to Natalia for making my one day “vacation” at the Vienna airport much more than bearable.

The fourth of July is a big day in the United States. For most Americans it is a day of hot dogs, apple pie, homemade ice cream, outdoor band concerts and fireworks. There are also a few people who recognize the day as commemorating the signing of the Declaration of Independence and signaling the birth of a nation.

This year the fourth of July will be cause for celebration of another sort in one of the great music capitals of the world. ConFused5, the popular Retro-Rock band from Salzburg, Austria will be headlining at the Rockhouse to celebrate the release of their new album “Out Of Confusion” on the internet-based record label Sellaband. Taking on the role of impresario, bandleader Markus Melms has scheduled a night to remember. On the bill will be the sensational young Dutch band So What and from Argentina, the very talented Gisel de Marco accompanied on guitar by my good friend Pieter Vos, aka Pieps.

Local boys ConFused5 always put on a memorable show but this lineup offers a wide variety of music and is Markus’ way of thanking the Sellaband community for the support which made the new album a reality. So What has already raised their $50,000 recording budget and is now interviewing producers for their turn in the studio. Gisel de Marco is well on her way to the same goal and this concert could be the shot in the arm that puts her closer to her final countdown.

So who is Gisel de Marco? The tracks offered on her Sellaband profile reveal a pure voice of rich clarity and dazzling technique. The ambitious productions are still of decidedly demo quality but Gisel sings as if she is in the big room at the old A&M studios. Gisel has a mature sense of dynamics well beyond her years. Her performance on “I Wish I could Fly” demonstrates a flare for the dramatic and shows great potential for what will happen when she has the opportunity to sing on a full-blown studio production.

“I Found You” shows another side of this young singer. The vocal is engagingly performed and, as with the previous track, one could imagine Gisel really letting out all the stops. There is something a bit measured about this track but again, the potential is hugely apparent. There is real character and honesty in her voice on “All The Way.” “Roma” is yet another side of Gisel. The vulnerability of this track is haunting and touches the listener in a very personal way without being contrived or disingenuous.

The last track on her Profile is an excellent collaboration with fellow Sellaband artist
Marc Supsic. Hats off to Marc for creating a beautiful soundscape to showcase Gisel’s talent. A very musical effort on both their parts. Marc’s tasteful writing takes Gisel in more of an alternative direction and the result opens up even more possibilities for her future endeavors.

Gisel has that special ability to make a performance exciting without resorting to kitschy pyrotechnics or simply belting at the top of her lungs. If she continues to develop along the same lines her style and technique certainly offer the possibility of a long creative career. Her command of American pop diction is very natural and she does a great job of camouflaging how difficult these songs really are to sing. One of the keys to understanding how good she can be is the quality of her background vocal parts. Most professional background singers are highly skilled and technically more advanced than the artists they sing behind. Gisel proves beyond a doubt that she can do it all.

So…who is Gisel de Marco? The tracks on her Sellaband profile show a wide range of potential directions for a young singer at this stage of development. There are traces of many influences including Celine Dion and even the renowned vocal chameleon, Marnie Nixon. $50,000 will give her the opportunity to look inside herself and, with a good production team to guide her, she will surely reveal the genuine artist inside.

If you are in the Salzburg area on the fourth of July, do yourself a big favor. ConFused5 will rock the Rockhouse with their new album and So What will give a preview of what we can expect from their own upcoming album. But come early and get a good seat. Gisel de Marco, accompanied by Pieps, will be opening the evenings festivities and she is not to be missed.

Yesterday I had the pleasure of recording one of my all-time favorite singers. I’m finishing up the SolidTube tracks and we will begin mixing the album in a few days. While in Vienna, I had Mandana sketch out the background vocals but another voice will really add some meat to the tracks. And I know of no meatier voice than the one that lives inside Angela Carole Brown.

I met Angie many years ago at a cabaret in Los Angeles. Steve Haberman, Jim DiJulio Jr. and I were the house trio and one night Angie turned up with a pile of charts. We played a set behind her that night and from the first note, I knew that I was hearing something special. Angela’s rich voice oozes effortlessly and makes its way to the listener’s ear on waves of pure and honest emotion. I know, I know…the last sentence sounds a bit over the top, but if you go to her website and check out the video of “Slow Club” you will understand my lack of adequately descriptive vocabulary. So rather than try to put her abilities into words, give her a listen and see if you can come up with something better.

The first time I heard Mandana sing, I thought of Angela’s voice. They both have a rich and sonorous low range…this is a gift and cannot be taught any more than you can teach a young athlete to be taller. Stronger? Yes, but size is a natural attribute and both Angela and Mandana have big natural voices.

I had hoped to do the background voices for the SolidTube album with the guys in the band in combination with Mandana, and some of these tracks may ultimately find their way onto the album. But when we cut the guide tracks for a song called “Home” I knew that there was only one direction to go. I emailed Angela from Wild One Studio and begged.

One look at Angela’s website and it will be obvious why I begged…Angela is definitely not your average background singer. She is a published novelist, a composer and arranger, has produced her own albums and is a must see at her jazz gigs in the more popular LA nightclubs. But, she has always graciously stepped into the breech for me when I have needed her no matter what the gig.

Working with Angela is the ultimate experience in professionalism. She will stand in front of the mic and work all day to give you just exactly what the track needs. If you need ideas…she has a pocketful. But she’s just as ready to duplicate whatever parts are needed. Want vibrato?…sure. Straight tone?,,,no problem. Double the track and sound like someone else?…yep. Angela has all the tools of the trade and then some. And she is so good at what she does that ego never enters the room.

Doing vocals with Angela is a little like doing a photo shoot with an experienced model. All you have to do is say a few words, point and shoot. She makes subtle adjustments so fast that you just need to keep the machine in record and catch each take. We did five songs in two hours and I never felt like we were working too fast. It’s just that every frigging take is a keeper. Normally, there are takes that are better than others, but when she is at the mic, there just isn’t a lot that isn’t usable.

I’m really looking forward to mixing this album and am so proud to have been able to include Angela’s talent. I only wish that the SolidTube gang could have watched her work on their tracks. I know that her level of expertise and professionalism would have been an inspiration for them.

If all goes according to plan, the SolidTube album will be available in late May. I hope that you like it…I already do. And I’m a hard sell.

FUCK!…always wanted to start a blog like that. The universal plosive monosyllabic attention getter…and a word with deep hidden meaning. But I digress. What I meant to say was, Fuck, I really don’t want this to be over. Went in to Sonic Flow Studio and ran up some work mixes and suddenly it began to sink in that the recording sessions for ConFused5 are history. As Sammie Davis Jr. might have said, “I dig this not, man.” I haven’t had this good a time since…well, since last month in Vienna as a matter of fact. So I guess I should stop whining.

Recording with ConFused5 drove home something that came to light as I was working with SolidTube last month and was also the theme of my article in yesterday’s Sellaband Tribune. The greatest single product that this new thing we call Sellaband can offer the artists on their roster is genuine artist development. If the truth be told, the recording budget does not allow for an all out recording/mixing/mastering package without some huge favors and vigilance on the part of a project manager. But it is sufficient for a band to get a good taste of what studio recording can be. Yeah, yeah. Of course you can make an album for the price of a happy meal with your godamned laptop. But that ain’t studio recording with a full band, pro engineers, pro gear and an eye looking in from the outside to help get the most out of yourself.

This album will be really good because the guys in the band allowed me to look deeper into their music than they themselves may have. They also, to their credit, are good enough musicians that they can try different approaches without losing their identity. Musicians can be stubborn and inflexible but I find that this usually stems from insecurity…perhaps they don’t have the chops and are afraid to admit it. Or their egos won’t allow them to see things from alternative angles. This was not the case with ConFused5. Their attitude was, “We’ve demo’d the songs, and this is as far as we could take it. Now it’s your turn.”

As someone who believes in artist development, I believe some of the best work toward a record will happen in a rehearsal room. We tore these songs to pieces and the guys themselves discovered how to put them back together in a way that every part and every note became intrinsic to the track. Time was short, but I wanted the band to really believe in themselves. And that meant that they had to relearn the motivating force behind their parts. These are seasoned guys, but they had to turn off the automatic pilot and fly the plane without instruments so to speak. It was amazing. As the parts became simpler, they began to play with real conviction. And suddenly the vocal melodies started to leap out of the tracks.

The other area where the band really grew was in taking a very organized approach to orchestrating the songs. Once the rhythm section was cleaned out, the parts, though simplified, had greater impact and we discovered that there was now much more room for the keyboards and single line guitar parts that give these songs so much character. Markus and Alex play great harmonic single line parts together and featuring them in a mix can be difficult unless there is room. Many times a band can slip into the habit of playing over other parts which are in the same frequency range. It’s good to adopt the philosophy of Willie Keeler. He was a baseball player known for his ability to get a base hit whenever he needed one. When asked how he did this he replied, ” I just keep my eyes open and hit em where they ain’t.” Keeping this in mind will definitely make you a more valuable musician in a group setting.

Recording guitar solos with Markus was great fun. We really got into the rhythmic aspects of soloing and with the rhythm tracks as simple and forceful as they were, he found that he had so much more room inside the tracks to really express himself. Beda and Kurt had provided a great bottom end on which to build. The solos in this music are mostly composed more than improvised so it took a while for Markus to relax into the groove these guys laid out for him. But once he let go of the old habits the shit started to catch fire.

I’m so proud of all these guys. They really stretched their musical horizons and played some great music. And it could only happen because they weren’t afraid to change. That is the key to developing as a band. You just have to be willing to try other things and to keep an open mind. There are no limits to what you can pull out of yourself if you are willing to say, “Fuck it…I want to be better today than I was yesterday.” Not every musician has that kind of courage.

Well, tonight the band and I got together for a farewell dinner. I had so much fun here and hate to leave this town. But, as much as we’ve grown together as a production team, I think that if I push the talk back button one more time and say “Perfect…except…” they’ll be packing my bags for me. I also should send a big shout of thanks out to Wolfgang, Max and Spanky at Sonic Flow Studio. They were all great guys to work with and really know what they are doing…when they’re not mounting vacuum cleaners and meat grinders on the wall. Spanky’s name is actually Harry but Spanky is his new nom de guerre…I’m hoping it sticks.

So…onward and upward! Tomorrow it’s back to Vienna for a quick beer before flying home. Thanks Markus and ConFused5, it’s been a slice.

As I said in my last entry, the guys at Sonic Flow Studio have built a very cool recording environment. The room is large and they have plenty of large studio gobos. These are move-able walls which are used to create isolated areas in the studio. With these we were able to isolate the guitar amps from the drum microphones. They are also handy in creating a vocal booth or for changing the acoustic characteristics of the room itself. Another thing I might have missed if I hadn’t taken a good look around is their extensive collection of table-top meat grinders. These are strictly old-school and are of the hand crank variety. Yes, Wolfgang and Max are have an interesting eye for visual design. There are about fifty of these beauties mounted just inside the studio entrance and what says “Rock’n'Roll” better than a platoon of meat grinders standing at attention at the gates of the tabernacle?

Markus has done an amazing job of getting the media to come out for pictures, articles, video footage and interviews. The question I enjoy answering most is “What kind of projects do you enjoy the most?” My immediate answer is always a very diplomatic, “This one!”
But my serious answer is that I really enjoy working with musicians, singers and bands who may not have had the opportunity to work in a real recording environment with an outside production influence before. Working in a professional studio with ample time to explore and develop has a way of refining the musicianship of any musician. And with the right production team a band that is ready, willing and open-minded will grow by leaps and bounds.

Many musicians with limited recording experience tend to think in terms of what their heroes might play in a given situation. All of us are influenced by what we listen to and love. But when the opportunity to make a recording presents itself, the most important thing for me is to dig deep into a musician and find out what he has to say…and then to pull that statement out of him in his own words so to speak. I’ve done plenty of sessions as a bassist where I’ve been asked to “do that Jaco thing” or “give me a Larry Graham type of slap thing.” But when I’m trying to interpret what an original artist has inside of him, I simply won’t stop until the musician himself can listen to the track and say, “oh…yeah, that’s what I always wanted to say, I just never knew that I knew how to do that.” That moment of realization is the big payoff as far as I’m concerned. If a song sells or not is often a matter of opinion and luck, but if a musician can let himself be taken to that moment he knows he is capable of more than he had dreamed of, then he can listen to the music for the rest of his life with a clear conscience.

ConFused5 is made up of excellent musicians from top to bottom. They are very capable on a technical level but have never had the chance to have an outsider look at their music under a microscope. Fortunately they are also mature grownups and have relatively open minds so we have been able to experiment quite a bit during the overdub sessions. If a musician doesn’t have the chops to try different things, well, then you’re dead in the water. But in every case, I think we’ve been able to get to the deepest recesses of the musician’s original intent and the recordings will reflect a genuine musical honesty.

Today we will finish off the last of the vocals and I’ll go into Sonic Flow to run up work mixes tomorrow. Man, I hate it when things start to come to a close.

After a strong rehearsal week, ConFused5 and I moved into Sonic Flow Studio and settled in to cut the basic rhythm tracks for their new album. Sonic Flow is a studio after my own heart. Wolfgang and Max have built a great sounding room and have stocked it with great equipment. The studio records on either Protools HD or Logic and there is no shortage of great microphones, pre-amps or good vibes. But what I found particularly interesting was the vintage vacuum cleaner collection. I have no clue what they sound like, but they sure look cool.

Markus and Alex have brought Marshall and Orange guitar amps in addition to the Tube Thomsen combo that Markus uses live. The studio has a really nice sounding Vox AC30 and a few nice Fender combos so tracking guitars will be more than fun. The only limitation we have here is that there are only sixteen input channels but that isn’t any different than recording in the average analog studio of twenty years ago. With a little thought and creativity we were able to set up the studio to record the entire rhythm section: bass, drums, two guitars and guide piano, in the same room at the same time.

And so, as Captain Beefheart once said, “the fun begun.” I had hoped to record at least two tracks per day and optimistically thought we might have a few days where we would catch three. Man, was I ever wrong. All the band needed was a few run throughs of each song and damned if they didn’t start nailing track after track. On the first day we finished the basics on four songs and by 6:00 pm of day two…that’s 18:00 in Austria, probably because of the weak dollar exchange rate, we had all ten tracks finished and ready for overdubs. As always, I let the band choose one track to record over again just because bands usually get cocky at about this time and think they have a better one left in them. And as usual…I was right and they were wrong. The first take of “Why Me” was loaded with energy and vibe and that’s the one I’ll keep. But what the hell, we had time to spare, and who wants to quit playing in the studio anyway?

Because the section was working so efficiently, I decided to grab a lot of rhythm guitar doubles immediately upon deciding that the take was a keeper. When playing live, Alex uses an Ibanez chorus stomp box and he asked me if we would be using it in the recording process. I answered that yes, probably…because the door lock in the toilet was broken and this little baby would be useful in holding the door closed. Then I showed Alex my very favorite chorus device.

My favorite chorus has two versions. If the tracking guitar is a Les Paul, I like to double the part with a Stratocaster through an AC30. If the tracking Guitar was a Strat, then I’ll double the part with either a Les Paul or a Gibson ES something or other…335, 345 or 355. Since we had Markus’ 345 at hand, my favorite chorus in this case consisted of the Vox AC30, Alex’s Les Paul Custom, Markus’ ES345 and my Knopfler signature Stratocaster. Yeah, it may not be as portable a chorus device as the Ibanez, but it sounds pretty goddamned good. And to tell the truth, I don’t think I would use any of the components of my chorus to hold the toilet door shut, so I think we made the best use of the materials we had available.

On day three Herbert and I began to work on keyboard overdubs. Herbert is great to work with. In addition to being a very well trained musician, he has a great instinct for musical ideas and best of all, he has an open mind and is not averse to trying different voicings or rhythmic motifs in order to create the proper soundscapes with which to feature the melodies and lyrics of these songs. We have a deep love for classical music in common and musical ideas fly back and forth in three languages. Between Herbert’s German, my English, both of our efforts at speaking each other’s language and the language of music, I suppose that totals up to 3.5 languages…but the music is coming together really well and we are having loads of fun.

Meanwhile, because Markus has nothing to do at the moment, he has been doing what he has an absolute genius for, and that is dragging the media out to the countryside and generating interest in this band and in the Sellaband platform. By the time this album is released in July, Markus will have made sure that the very cows grazing on the nearby alps will have heard of it and want a copy of their own. So far we’ve done at least one interview or media event per day in the studio and tomorrow will be no different…which reminds me…shit! I gotta shave and wear clean socks tomorrow. Ah well, a small price to pay.

Tomorrow we continue with keyboards and then it will be time to record guitar overdubs with Markus. I wonder how many interviews he’ll schedule when it’s his turn in the box…