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New Phil O'Keefe/SSR Studio site

Jeff da Weasel

By Jeff da Weasel
in Sound, Stage, and Studio

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Jeff da Weasel

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Once my masterpiece album is written, I would love to have it recorded at SSR.

 

One point in this regard: when I started recording my album at Sound Sanctuary, I did NOT wait until it was done being written. At the time (March 2008), I had five songs that were ready to go. But the remaining six tracks on the album were written after I'd already started recording.

 

You'd think this would be a problem with cohesiveness on the album as a whole, but it actually turned into the opposite: I was inspired by the vibe and the sounds we were getting on record, and knowing what we were capable of creating, I used some of that awareness in the creation of the remaining tracks. So in a way, it might not be worthwhile to wait until everything is perfect. Sometimes just jumping into the deep end inspires you to swim. :)

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Phil O'Keefe

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Nicely done.

FWIW - I always liked the name Sound Sanctuary.

However, it gets lost in the SSR moniker used here.


One important point was missing: What is the house coffee like?

Also, why no pics of the mojo laden lava lamps? This is key.
:)

 

The name "Sound Sanctuary" just came to me one day. I like it because there's a few possible meanings you can take from it, if you're so inclined. There's the obvious spiritual connotations, and we do a fair amount of faith based music, although it's not all we do. Of course, to me, music IS spiritual, and this place was intended as a sanctuary for music; not so much a sacred place itself as a place where something sacred (which again, all music is to me - YMMV) can be created and honored. And of course, the sanctuary connotations in terms of some place where musicians could find sanctuary and a sympathetic ear and environment in which to create...

 

It was only later that I found there was a couple of cases where :Sound Sanctuary" is also being used. Someone already had www.soundsanctuary.com registered; it used to be a liturgical music site, and when I contacted the lady who owned it, she was fine with the idea of there being a studio with that name, and didn't see any conflicts. If you click the link, you'll see it now has a thing up about a concert or festival which was canceled, so I don't know if the same lady still owns it or not.

 

There is also apparently a band in the UK that uses the name Sound Sanctuary, but I'm pretty sure they started up after we did. :idk:

 

As far as the house coffee, it's not bad, and we have a Starbucks and a couple of other coffee places nearby if you'd prefer something else.

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Phil O'Keefe

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OK, I'm sure Mixerman would be proud. There is no need for tapestries though!
:)

 

No tapestries, but if you check out picture number four in the Gallery, you can see we do have a couple of hand painted murals that my daughter Samantha did - in addition to her session singing and songwriting and musical talents, she's also a pretty good visual artist. :)

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Ernest Buckley Newbie

Ernest Buckley

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One point in this regard: when I started recording my album at Sound Sanctuary, I did NOT wait until it was done being written. At the time (March 2008), I had five songs that were ready to go. But the remaining six tracks on the album were written after I'd already started recording.


You'd think this would be a problem with cohesiveness on the album as a whole, but it actually turned into the opposite: I was inspired by the vibe and the sounds we were getting on record, and knowing what we were capable of creating, I used some of that awareness in the creation of the remaining tracks. So in a way, it might not be worthwhile to wait until everything is perfect. Sometimes just jumping into the deep end inspires you to swim.
:)

 

Yeah, I think thats why it took me almost 5 years to complete my first record. :facepalm:

 

I originally started recording knowing we had about 7 of the 10 songs done. I had all the songs but some of them were "in limbo", meaning that some of the bridges and changes were still in question but the basic ideas were there.

 

As we got more into the process, I realized the possibilities and before we knew it, we were adding parts here and there, changing this arrangement, adding samples, harmonies, instruments, vocals... it got to be a little hectic and honestly as cool as it was to realize, in the studio, just about anything is possible, you have to draw a line somewhere.

 

I think a time limit helps and if you have someone who is actually going to make tough decisions, it helps. My co-producer and I got into it too deeply and you eventually lose sight of the goal line so its a fine line you walk. Granted our schedules were constantly conflicting so we could go a month before we saw each other again but after a year, I think its difficult to stay focused on the original intent.

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Phil O'Keefe

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We dealt with scheduling issues, as well as distance issues while working on the Zak Claxton album - Jeff lives about 80 miles from here, so it is a bit of a drive for him to get out here; same for Ken and Bunny...

 

We actually spent relatively little time together here as a unit in the studio. Jeff can / will correct me if I'm off by a day or two, but I believe we only had six tracking days total on the album where I had everyone here. Of course, there were a few more days where I was working alone on it; either doing additional overdubs, working on editing and stuff, or doing the mixes...

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Jeff da Weasel Newbie

Jeff da Weasel

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We actually spent relatively little time together here as a unit in the studio. Jeff can / will correct me if I'm off by a day or two, but I believe we only had six tracking days total on the album where I had everyone here.

 

 

Correct. We spent six days tracking the album, which is a huge testament of the working efficiency we had going at Sound Sanctuary despite the fact that we were also having fun and being casual.

 

Session 1: March 28, 2008 (Falling Down & This Afternoon)

Session 2: June 28, 2008 (You're Like a Cloud & Thanks Anyway)

Session 3: November 15, 2008 (The Sands of Redondo & Always Tomorrow)

Session 4: March 21, 2009 (Waxing Gibbous, Lines on your Eyes & Come Around)

Session 5: July 25, 2009 (Fade Away & Waiting for This)

Session 6: August 15, 2009 (overdub session for Fade Away & Waiting for This)

 

Six days, plus (as Phil said) the time he spent mixing and tweaking when we weren't there. Not too shabby. I don't think there are very many studios were you could expect that kind of output.

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Ernest Buckley Newbie

Ernest Buckley

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Yikes! That's not at all what I meant. When we went into the studio for each session, all of the song structures were in cement. We didn't change anything at that point. But my point was that while we were recording the first few tracks, I was still writing the remaining stuff.




Correct. We spent six days tracking the album, which is a huge testament of the working efficiency we had going at Sound Sanctuary despite the fact that we were also having fun and being casual.


Session 1: March 28, 2008 (Falling Down & This Afternoon)

Session 2: June 28, 2008 (You're Like a Cloud & Thanks Anyway)

Session 3: November 15, 2008 (The Sands of Redondo & Always Tomorrow)

Session 4: March 21, 2009 (Waxing Gibbous, Lines on your Eyes & Come Around)

Session 5: July 25, 2009 (Fade Away & Waiting for This)

Session 6: August 15, 2009 (overdub session for Fade Away & Waiting for This)


Six days, plus (as Phil said) the time he spent mixing and tweaking when we weren't there. Not too shabby. I don't think there are very many studios were you could expect that kind of output.

 

 

Yeah, I know thats not what you meant thats why I threw my own experiences in there because I had a different experience. You guys worked very efficiently with the limited time you had. I think the fact that my co-producer and I had no budget, meaning, he was helping me out for no $$$ gave us endless time to do whatever. We are now discussing the second record and one way I am combating this is to actually go to other studios and also put a time limit on the tracking and mixing stage. I`m giving myself a year to complete the record from the first tracking session.

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Jeff da Weasel Newbie

Jeff da Weasel

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I think time limits are a good thing, for sure. For me, the big limit was a) not impinging too much on Phil's time, since he was cutting me a great deal and I didn't want to get in the way of higher-paying gigs for him, and b) having limited time with my fellow musicians like Ken and Bunny.

 

We were laughing at the last session, talking about doing another album in six days... but having the days be consecutive instead of spread out over a year and a half. Probably completely unfeasible, but it's a neat thought.

 

I'll probably be back at Sound Sanctuary within a month or two, once I feel good about the new stuff I'm writing. :)

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