I had the pleasure of working with Sahffi this winter on her third release Expectations. Expectations was a grand experiment, featuring 10 different producers on 10 different songs. Sahffi recorded the main tracks here at Mobtown, and gave the tracks to the producers with no expectations of how they should be produced. The result is a rich album full of different genres that range from pop to hip-hop to electronic to alt rock, which highlights Sahffi’s unique ability to shine in many different lights.

I had the privilege of producing one track and mixing a handful of the other tracks with some of the producers (Num63r S!x, mOsno, Chuck the MADD OX, N’Dinga Gaba, Chris Mandra, Angela Taylor). This record was such great experience. I’ve never done a record like this before and it kept me on my toes. Not to mention was great to finally work with Sahffi. This is a record that pulls a folk artist out of the boundaries of a folk artist. She’s experimenting and crossing lines that feel better when crossed than not.

Be sure to pick up a copy of the record here on bandcamp.

Ticktock Islands (Produced by Num63r S!x)

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Heart Strings (Produced by mOsno)

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On one level you can take Deep Sea Cavalry‘s debut album as though it is written as a philosophical position paper which investigates the folly of competitive hierarchy, the inadequacy of most forms of communication, the exploitation of all-things-new, and various other faults of the human condition such as the inner battle that we call the self. On another more surface level, however, the album is simply 15 highly palatable indie-rock anthems.

Or more simply, this album reminds me of what would have happened if Bob Mould was born in Ireland and turned on the lo-fi button. I love this record. The music is melodic and driving and is a perfect spring soundtrack for a weeks worth of rain.

Below is my favorite track and their first single from their record I mastered. Be sure to buy the record here.

Robber Barons

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If you’re a musician who’s spent much time in the studio, you’re well aware of the myriad ways the studio experience differs from rehearsal and a live setting. These differences arise out of the studio’s microscopic (or microsonic, if you will) view of music, which diverts attention away from spontaneity and emotional expression.

Some musical elements notoriously stand out in the studio: audio bleed, tempo, precise playing, being in tune, etc. But others are not as well known. In particular, and to the surprise of many artists, the songs themselves may not work in the studio like they work conceptually or even live.

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A common question when planning for a record is how much to budget for mixing. (Check this out if you’re not sure what mixing is.) Unfortunately, there is no universal answer. Ta da! That was helpful, wasn’t it? Seriously though, my usual response is: “Double what you plan to spend tracking and expect to spend that mixing.” In my experience, it’s a formula that works for the majority of bands.

Some folks are surprised that mixing requires that much of an investment. After all, you spent all that time tracking to make sure you got just the right sound. Isn’t it now just a matter of twisting some pots and sliding some faders?

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