Lou Patty – Lou Patty EP 2017
Recorded between April 2017 and June 2017, mixed and mastered Juli / August 2017. Released on 17 November 2017
After we recorded Lou Patty’s single “Keep Running”, the band returned to the White Noise Studio for the recordings of an entire ep, the “Lou Patty EP”.The drums, bassguitar, guitars and hammond were recorded at the White Noise Studio. The vocals, guitar solos played by Roger and the synth played by Jeff were recorded by the band themselves and send to me to include in the mix project.
The Lou Patty EP recording:
I would like to point out a few things of the recording session instead of going into detail, because it ended up being a standard setup for a White Noise Studio recording which worked really well in this setting.
I asked my mate Freek Philippi to assist during recording since it was on really short notice and I was in the middle of the Veni Om recording sessions.
Freek brought some of his stuff with him which we then included for the recording, that is a few API 512C modules, an Electrovoice RE20 and a Neumann TLM103 mic. We tracked the drums using the API’s and Neumann for overheads, the RE20 was used as outside kick mic. Since we were in the middle of the Veni Om recordings the Hammond organ we had around for that session was still in the studio. Jeffrey planned on using hammond sounds on the Ep and we decided to record some parts with it. We decided later on which parts were to be used of these hammond recordings. Bass was only DI-ed , all effects were done later.
Roger and Jeffrey pointed out they would prefer to record some parts in the comfort of their home. Jeffrey would work out his synth parts and send his recordings to me and Roger wanted to do the same with all the vocals and the guitar solos. I suggested Roger took the BPM CR76 tube mic with him to record his vocal at home, which he did. Roger send a few test recordings for me to listen if it sounded good. They did and this was the way all vocals were recorded.
Lou Patty EP Production:
I recorded Lou Patty’s previous single, so I had some experience working with the band.
I had a clear vision in my head of how I wanted the instrumentation to work. Therefore, we discussed what exactly my role in this EP recording / production would be.
Sessions happen differently every time. Sometimes a session is focussed on the technical side of engineering and mixing, with little influence by me. Other times I get really hands on and suggest parts to play or different arrangements. This recording session was more of recording the drum and bass parts they came up with and suggesting alternative parts and sounds while recording guitars. With the homerecorded vocal and synth parts we bounced back and forth a bit.
I then got into a producer role by going through all parts and adding parts to get the blend between electronics and guitarrock I had in mind and the band wanted.
Some parts were suggested by Roger and Jeffrey and other parts I came up with.
Song by Song production:
Here are some production highlights, song by song.
The first track of the EP and first single.
The intro was something Jeffrey came up with , I made it fade in nicely to make sure when the bands comes in, it really hits you.
The verses are really electronic sounding. The most obvious parts are the drums and bass. The bass is layered with a few synth I programmed in Massive. There are low end, mid and hi parts. A low subbass notes acts as a build up for the second part of the verses where the real hammond comes in. You’ll notice the subbass isn’t only low end but also has some higher frequency content in it.
The drums are layered too, with handclaps and an analog snare doubling the acoustic snare.
Pretty much every vocal track on the Lou Patty EP has some form of saturation or distortion happening.
On this track, every vocal is either filtered or distorted, nothing clean is going on.
Only the distortion in the chorusses is more clean than the verses to make the chorus stand out.
In the bridge, which has the most electronic drumsound on this song, Stan plays his secondairy snare which has been layered with an electronic snare by me. The hihat triggers an electronic programmed hihat which is blended in to have a static sound, but retain a natural feel. The kick is layered with an analog sounding kick too for the same reasons.
I have to mention, all drums on this EP is Stan’s own timing. No quantisizing is going on, only for a few edits. This way, even when the music get’s really electronic, we keep the natural feel of the band which is definitely something to strive for.
The robotic sounding vocal is done to have a sort of breakdown hook everytime a more major shift musically happens. It was created by extremely tuning and pitching down Roger’s vocal.
Kings And Servants
This track of the Lou Patty EP has a few things going on, most of them have been sneakily worked in to create a vibe. That vibe is the electro – rock vibe.
Starting with the main guitar riff. This one is a sort of hardrock guitar riff which we wanted to be less rock and more electro. I started experimenting with bitcrushers on the guitar for this riff and noticed that one particular note, the low F played by Roger, sounded really cool with bitcrush. It added harmonics and created a more electro feel. So I went out and edited all of the lower F notes in this riff to have that bitcursh effect. I edited instead of using automation for accuracy and ease.
Check out the soundfile below for that riff solo’d.
The drums are layered with an extra four on the floor house kick which goes on and off during the track, leaving open the places where the normal kick is played and adding some extra drive and electronic vibe. At the end of the chorusses, a hardcore house kick alternates form left to right to accentuate the guitar and bass accents.
An electronic hihat playes almost through the entire track for a constant pulse.
There’s some extra guitar noise building up everytime towards the end of the chorus for extra texture and song dynamics.
Minute Of Peace
One thing I did on this track was to cut out a few notes of the bass and guitar during the verse. The bass and guitar parts were a bit too dense to leave room open for the vocals and lyrics to really come through. I felt something unsettling was needed to match the lyrics. There was a small vocal line in the bridge which felt lyrically fine but musically not right. I used that as starting point for the creepy whispering sound in the intro and verses. It’s that vocal line which has been filtered, reversed delayed and more and over eachother to create a complex sound.
All basses in the chorusses have been doubled with a synth, to add fatness which almost sounds like an overdrive.
At the end of this song you can clearly hear the hammond we recorded. Fun fact: it was recorded with the converters set at 44,1 khz while the project is in 48. This created a bitcrush effect and added some hi frequency edgyness which we liked and kept.
Handclaps. That’s what’s added under the snare to accomodate the funkiness of this track. The entire kickdrum is layered with an analog low frequency kick for some steady heavy low end in the verses.
The bassguitar was treated with a envelope filter which made the chorusses extra funky. All cleanish guitars were recorded with the studio’s Fender Champ 25se on setting really loud to get the tubes really working.
The chorus gang vocals were created by doing a lot of doubling and pitching those doubed vocals Roger send me.
Lou Patty EP Last words:
All in all, this was a really fun project to work on. The EP is doing really well in the reviews and the video clip has a very nice number of views.
Cool fact: You can get this EP for free at several music shops locally here in the Achterhoek ( NL) . We recommend you get one.