Just in time for the holiday gift-giving season, AbstractLogix is now selling the latest release from the rock/funk fusion group My 3 Sons. Titled Who’s We?, the album was recorded and mixed at Manifold Recording this summer by Ian Schreier. Recorded live with minimal overdubs to capture the dynamics and tone of a high-energy My 3 Sons performance, it exemplifies the magic that can happen when a great band comes together in a great space to play great music.
There are some other new releases coming out around the corner, but this one’s available now. Check it out!
This past weekend, Manifold Recording hosted four ensembles of the Chrysalis Chamber Music Institute from UNC School of the Arts (UNCSA): the Giannini String Quartet, the Liminal Phase wind quintet, the Chrysalis Brass Quintet, and an ad hoc piano/violin duet. The goal of the session was to give these developing musicians an opportunity to hear themselves in a new way–recorded in a studio setting. Of course musicians must be able to hear themselves, and of course they must be able to hear other members of their ensemble. But beyond that, how much do they take for granted that what sounds good inside the circle will translate beyond it. This session gave them the opportunity to experience this for themselves.
Sarah Shook came to Manifold Recording by way of an Intern from Italy, Mario Bianchi, but the story of Sidelong, Sarah’s first full-length album, has a longer history. And one that makes this album release that much sweeter.
A recent feature in INDY Week tells the backstory of a Sarah’s journey, from growing up in a fundamentalist Christian household in Rochester NY to the devilish ways that led first to her musical emancipation, her break from religion, and ultimately the embrace of herself as a unique and uniquely driven person. Regardless of how dangerous that may be. And without any apologies.
Sarah first came to Manifold Recording to make an EP with her band, Sarah Shook and The Devil. It was a fast and wild ride, but one that told us that there was some real magic, too. Ian Schreier took it upon himself to use his 20+ years in the business to convince Sarah to come back and make a real record, with him as producer. The fact that her band had just dissolved wasn’t an excuse to sidetrack the project.
Once Sarah had recruited a new band that could both play together and work together, Ian was ready take the reins as Producer.
One of the reasons I was so excited to install a Harrison Trion console in the Annex Control Room is that it used commodity processors to do all its musical math. Which meant that as processors got faster, the console could, too. That was realized this past weekend when we swapped out four Xengine processors (4U, 750W PSUs each) and replaced them with two Xengine2 processors (4U, 400W PSUs each). We went from almost overloading our 2200VA APC UPC to not even lighting up the first of 5 load LEDs! Moreover, the new engines support 4x more “Toys” (complex Harrison plug-ins) and 50% more channel capacity, taking us from 96 channels at 96K to 144 channels at 96K. Awesome!
Yesterday we very very happy to host singers from several congregations of La Luz del Mundo of North Carolina. These singers came from across the state to make the first professional recording of some of their a cappella hymns. Here is the full choir in the studio:
Last month Kat Robichaud and her band moved in to the studio to record an epic rock album, with Ian Schreier engineering and producing. The process actually began some time before that, but the studio came into play for some intensive rehearsals before tracking and mixing began. Here’s a shot of the whole band rehearsing, showing the great energy that everybody had throughout the session:
Last year, John Heitzenrater and the band Hindugrass came to Manifold Recording to track their new album. John used crowd-funding to help defray the costs of the tracking session, and to use his home studio to edit and mix the resulting tracks. The theory was that by going “all in” on the quality of the recorded material, he would wouldn’t need all the firepower of a high-end studio to produce a good result. But as good as the tracks were, he began to realize that his artistic vision for the album was way more complicated than just selecting the right takes, putting the faders at zero, and letting the songs mix themselves. He began to inquire about mixing dates toward the end of the year, and we agreed to do a joint project. We would mix the album, but he would let us produce video of the process. We are proud to present the first fruits of that collaboration: