Once we’d recorded all of the music, it was time to mix it. Adam and I split the duties between us whilst mixing together. He would normally work on the drum parts first whilst I would focus on guitar and vocals before working on an overall mix between us. This worked well and I think between us we got the sound that we both hoped for.

The first songs that we worked on were ‘Ironic Veronica’ and ‘Baby’ as we had recorded them first and had completed tracking. ‘IV’ had been recorded with a 12-string acoustic guitar which actually caused a few problems in mixing due to the higher timbre of the instrument to that of a normal 6-string guitar. This required a lot of EQ to balance the harsh high-end frequencies within the song. This freed up a lot of the space for the both the bass guitar and the kick drum which occupy the low-end of the mix. The arpeggio guitar was also a fairly high-end based part as it had been recorded with a capo on the 7th fret. As seen in the pictures below the 12 string had to have several frequencies notched out to get rid of ‘rings’ in the instrument. There was also a timing problem with the 12-string part as it had been made up of two takes which meant cutting out the guitar in the middle section. This didn’t matter as there were enough other parts to cover it up.

IV - 12 string EQ 1




The middle section had a lot of mixing involved too. I had performed a harmonics part on the guitar which was meant to back up the solo heard but we found that it was barely audible. I decided to add a lot more reverb to it (DVerb to be specific) and put a slight delay on it to make the part more prominent. This resulted in an ethereal part that added another texture to the song. It blended well with the string part which was added in to be reminiscent of the songs from ‘Out of Time’ such as ‘Near Wild Heaven’ or ‘Shiny Happy People’.

12 String compression (Sip)






The bass guitar in all four songs (wasn’t in ‘Father, Son’) was treated the same to keep consistency within the album. It was always recorded with a microphone (in one case 3) rather than a DI to pick up the low frequencies better. ‘For My Next Trick…’ had a 3 mic setup which caused problems in mixing as it was muddying up the overall song. Light compression was always added to make the bass pop where needed and we typically equalised it with a high-pass filter to cut off the sub-bass frequencies and turning up the mid-high frequencies a bit to add a bit of punch. This was a technique gathered from our research http://www.soundonsound.com/sos/sep12/articles/mixing-bass.htm

The vocals tended to have the same processes added to them too. Light reverb was added to all the vocal tracks to give them a bit more presence. This was a personal preference of John Lennon’s and is something which I always apply to my vocals. The same EQ pre-set was used across all 5 songs too which was ‘Smooth Vocal’ as it seemed to work well with my lead vocal parts, bringing out the low-mid frequencies in my voice and cutting off the high-end which could be harsh at times. The backing vocals featured prominently in all 4 songs were also doused with reverb (normally a church hall setting to blend them better). The EQ’s differed from each one as I would prioritise the low-ends in the lower harmonies and higher frequencies in the higher parts. I would choose the closest 2 harmonies to be higher in the mix as they blend better and the higher ones could sometimes be a bit shrill in places. This was evident on both ‘Baby’ and ‘Ironic Veronica’ where the lower harmonies were prioritised over the highest one. In the case of ‘Sip a Fizzy Pop’, the opposite happened as the higher 2 harmonies were closer, thus making a better blend. The song had some ‘Beach Boys-esque’ harmonies in the chorus and as a homage to that I prioritised the highest harmony in the style of Brian Wilson who would add a layer of falsetto harmonies to songs such as ‘I Get Around’ and ‘Good Vibrations’ (LO3).

The EP was mainly guitar-oriented and feature a wide array of different sounds produced by the instrument. I tended to add EQ with the HMF turned up a bit more to add a punchier sound, reminiscent of ‘Suck it and See’. This is particularly evident of ‘Baby’ to make space for the bass guitar and ‘Sip a Fizzy Pop’. Another guitar that was used on the song was Patrick’s electric 12 string on which he played arpeggios throughout the song in the style of Johnny Marr from ‘The Smiths’ or Roger McGuinn from ‘The Byrds’. As his line reminded me of the latter’s playing style I put some research into how that was recorded and processed. McGuinn would send his guitar through a compression box to get a punchy, bright sound as heard on ‘Mr. Tambourine Man’. As we hadn’t recorded it in this style I added a compressor in mixing to get the desired sound (LO3). http://www.treblebooster.net/roger.html

12 String compression (Sip)
The compression used to get a sound similar to ‘The Byrds’















Some experimental processes were undertaken during mixing too. A key example of this is on ‘Sip a Fizzy Pop’ which occurs just before the bridge. The staccato nature of the lead-in was quite punchy already but I wanted to accentuate it even more which was achieved by duplicating all of the instruments at that section and adding a lot of reverb, pitch shift and distortion. This resulted in a washed out section which sounded atmospheric and ambient, a common theme of the songs on the EP. My inspiration for this was the sound of ‘Murmur’ by ‘R.E.M.’, most evident on the song ‘We Walk’ which features an echo-laden section to close the song (LO3).



Sip a Fizzy Pop

‘Sip a Fizzy Pop’ was also a recent addition to the EP as we had been struggling to hone another song, ‘Chasm Fever’. The sound I had in my head for the song, based on the writing style, was once again ‘Arctic Monkeys’ with their 4th album ‘Suck It and See’. I’ve always liked the bright sound of the songs, that had a mix of shimmery guitars and vocal harmonies.

We started, as usual, with recording the rhythm guitar as the basis for the song. I played my Epiphone Dot through the Vox amp of the studio and set my guitar to the treble pickup for a brighter, punchier sound. This was recorded with a Shure SM57 which was the same microphone used on Alex Turner’s parts for that album. http://www.soundonsound.com/sos/jul11/articles/james-ford.htm (LO3) Even though it was on a clean setting, with a bit of hall reverb added (a personal preference of mine due to the sound of ‘Suck it and See’), the higher volume of the amplifier caused it to have a bit of drive (not distortion) to the part – another technique used by James Ford.

Pat performed a 12 string guitar part which consisted of picked arpeggios, starting in the chorus and continuing throughout. His playing was very reminiscent of Roger McGuinn’s style of ‘The Byrds’. This is something that I will address in mixing to get that jangly sound that they achieved. (LO3). A new addition in the song came about with the use of hand percussion. My friend, Jack, came down to play on the session and performed an acoustic guitar part, a piano line in the bridge and a guiro part. We decided to record all of the parts at the same time – myself and Pat using egg shakers, Jack using a guiro and Adam hitting a tambourine. We all stood around a AKG-C414, placed in the live room to pick up the reflections and made sure we stood well back as read in our research into how to record percussion. https://www.soundonsound.com/sos/jan08/articles/qa0108_5.htm We performed a few takes of the percussion, due to the odd timing issue, although we knew it was only going to be a background part so we didn’t stress about it too much.

percussion2 percussion




You’ve got your scissors to cut out the middle man, stick him on your collage, bury in the sand

The never-ending fizzes of your cola can, forms a new mirage that swallows up my hand


Fizzy pop, can I have a sip? Effortlessly suave, pursed around your lips

Dizzy drops, effervescent drips, fizzy pop, winning lucky dips, fizzy pop


You’ve got your incomparable romanticism, dreams of paradise, palm-tree poeticism

An admirable set of euphemisms, meaningless advice, dick-hedonism


Fizzy pop, can I have a sip? Effortlessly suave, pursed around your lips

Dizzy drops, effervescent drips, fizzy pop, winning lucky dips, fizzy pop


Would I be a fool to even try? Am I too late to realise?

Would you like a tune? And you reply ‘depends on the phase of the moon tonight’

My eyes are sore for such a sight, angel delight


Fizzy pop, can I have a sip? Effortlessly cool, pursed around your lips

Dizzy drops, effervescent drips, fizzy pop, winning lucky dips, fizzy pop


You’ve got your never-ending sunshine optimism, the oozing cola cans, are they still fizzing?

An optical delusion, a prism, amusing epigrams, your eyes do glisten


Fizzy pop, can I have a sip? Effortlessly suave, pursed around your lips

Dizzy drops, effervescent drips, fizzy pop, winning lucky dips, fizzy pop



 Oliver Cobbin – Rhythm Guitar, Acoustic Guitar, Lead Guitar, Percussion, Lead Vocals, Backing Vocals, Production, Mixing

Adam Thraves – Drums, Tambourine, Production, Mixing

Patrick Delamere – 12 String Electric Guitar, Bass, Percussion, Backing Vocals

Jack Kenny – Acoustic Guitar, Piano, Guiro

For My Next Trick…

For this project, I wanted to write some new material to go with the songs that I had written over the past few years. The previous 2 studio sessions have been dedicated to recording two of these new additions, entitled: ‘For My Next Trick…’ and ‘Sip a Fizzy Pop’. As seen on the tick list update from last week, they have replaced two of the other songs for inclusion on the EP which is itself called ‘Humdinger’.

First up was ‘For My Next Trick…’ which had a relatively slow tempo at 88bpm. This caused some timing issues in places which was rectified by joining takes together and dropping me in where needed. The problem was partly caused by the fact that one section ends on the same chord that another starts with (E major) which meant that it was held for a long time and was hard to keep track of where it started/ended. The inspiration for this song and reference point came from Alex Turner (of Arctic Monkeys) who recorded a solo project EP, called ‘Submarine’. The nature of this record is a lot more low-key than his bands usual output, so seemed applicable to this project as the songs don’t utilise too many distorted guitars etc. (LO3)

The rhythm guitar part was recorded on a clean setting, with a little bit of hall reverb added to achieve the sound heard on ‘Submarine’. To get an even fuller sound, we placed boundary microphones on both sounds of the room. The signal picked up from these two microphones gave off a reverberated sound heard in the 2 seperate channels, showing the success of the technique (LO1). Another method we used was to prop the amplifier on its stand which we had picked up through our research that stated that ‘ lifting and/or tilting the amp [will] minimise the effects of phase cancellation’. This had been a bit of a hindrance in some of previous recordings so using this technique was a great revelation. (LO1). The use of the Shure SM57 had also come about from our research as ‘the sub-200Hz response roll-off reduces low-end cabinet ‘thumps’, which might otherwise conflict with the kick drum and bass in the mix’ http://www.soundonsound.com/sos/aug07/articles/guitaramprecording.htm This will be of great benefit to us as some of the kick drum parts performed by Adam had been washed out in the mix by both bass and guitar.









Our second guitarist, Pat, also added a arpeggio part to the verses of the song and a lead guitar riff in the second second section. For these parts he used a pedal board set-up which included an echo-machine simulator and an Electro-Harmonix chorus pedal. I was keen for him to utilise this pedal as it had been used by Kurt Cobain on ‘Come as You Are’, a personal favourite of mine (LO3) http://www.kurtsequipment.com/effectspage.htm. He also performed the bass guitar part on the song which was recorded with an AKG-D112 and two AKG-414s, placed further away to pick up the room sound. This was done as a result of research into the best methods of tracking bass. http://www.musictech.net/2015/09/how-to-record-bass-guitar/








You picked apart a puzzle, you ought not to pick apart

And clicked your fingers in a rhythm I was unfamiliar with

You picked a part to play, that you played perfectly

And flicked a flickering candle, well of course you did

But now the eyes are gaping, waiting for your next trick

Better saw yourself in half again, best make it quick


If you are such a cliché, why then can you not reflect?

Bitter to the bitter end, but what else did you expect?

Deception is the game you play, I think it best you keep away


You danced a bossa nova, with your new parakeet

And played the fool in waiting, staring at your feet

You kept us all a-guessing, what is black & white?

You said you didn’t know yourself, and gave us quite a fright

And now the eyes are gazing, for the second act

Your silhouette is looming and your shadow abstract


Is she just an enigma, or am I all out of clues?

Bewildered to the very end, and equally bemused

Deception is the game you play, I think it best you keep away


You gave a good performance, pretending until the end

Hatred for the mirror, it’s now you’re only friend

The fragments of your life, in pieces on the floor

The rain always bites at you, chills you to the core

But now the eyes have faded, there’s no big return

Adopt a different guise this time, I guess you’ll never learn



Oliver Cobbin – Rhythm & Lead Guitar, Lead Vocals, Production, Mixing

Adam Thraves – Drums, Production, Mixing

Patrick Delamere – Rhythm & Lead Guitar, Bass

Jack Kenny – Piano