Lincoln Recording Studios: Part I

By Joshua Hoyer

Cursive, Bright Eyes, The Faint, JV All-Stars, Dave Gonzalez, Kris Lager Band, UUVVWWZ. Sounds like a list that could be found on the website of recording studios in L.A. or Nashville. But the reality is, all these bands were recorded in Lincoln, NE, and the list is growing.  

From small basement studios, to some of the finest facilities in the nation, Lincoln is a hotbed of music recording and activity. Over the past couple of weeks, I have been corresponding with as many recording facilities in the area as I could find. Although I may have missed some of the smaller underground studios, one thing I have learned is that a large number of people in Lincoln are knowledgeable and passionate about recording music.

This means that as a complement to the large amount of talent and creativity in our music scene, there are a myriad of options for artists who wish to make an album. After talking to these engineers, some with over 30 years of experience and some who are new and emerging talents, I realized that the best way to get the information to the public would be a sort of “conversation” about the industry.  

First, I want to introduce these recording gurus to you. Take a look at the list; I think you’ll be as impressed as I was. Then, let’s listen in on the ongoing conversation about recorded music. The insight will help you as a prospective recording artist and as a listener to learn about all that goes on behind the closed doors of 12 of Lincoln’s recording studios.

THE PLAYERS, IN NO PARTICULAR ORDER:

 
THE CONVERSATION PART 1:

What do you look for in a recording? What makes it top-notch in your book?
Brendan McGinn:  I look for a good performance. I like to be able to hear the instruments.  I want to hear the personality of a drummer, preferably that the drummer is hitting the drums like they mean it. The recording does not need to be squeaky clean, crystal clear perfect. In fact, I dislike the lack of character and soul found in those sterile recordings. The recording process should not interfere with the band's ideas coming across the medium.

Brett Holihan:  I'm looking for clarity, a smooth mix with breathing and great dynamics, but with nothing that jumps out at the listener, (unless it's a special effect), as well as great production that transcends the norm or the expected. I want to hear the artist’s idea delivered clearly, developed and unfolded all the way.

Eric Medley:  Quality production value.  I don’t care nearly as much about the technical quality as I do the quality of the music and the snapshot you take of it.  Think of photography.  On one side is a nicely air-brushed photo (like a family portrait). On the other is an in focus, well-framed snapshot taken at just the right time with good camera equipment. 

I’m more like the latter. I like synergy between the recording engineer/producer and the artist.  If the latter is there and the technical quality is also top-notch then I think it’s a home run.  I’ll typically go through a set of tracks and clean up the technical stuff in the recording, but I don’t chop and hack stuff up until it doesn’t resemble the original take.

Chris Bowling:  I love a good snare drum sound, just deep and ballsy. If you listen to Manchester Orchestra's newest album, that is the snare sound of snare sounds. I also say anything recorded by AJ Mogis is pretty top-notch.

Mark Wolberg:  There are no specific requirements for me to like a recording. A top-notch recording has to grab my attention sonically, which it can do with strong songwriting, or a cohesive soundscape, or both. Or sometimes, I like a recording when I hear just one of the instruments recorded in a unique way. Whatever jumps out at me and furthers my aesthetic.

Kechley/Johnson:  Something that captures the artist, or song in an honest and believable representation. The heart and soul of that artist, or song, set in stone, in a way that makes the listener want more, or leaves them wanting to see that artist live, or take a part of them home.

Also, knowing how to differ bands from one another as far an approach and technique. You can't treat vintage honky-tonk the same way you treat rock.  I think it's important to be able to differ between overall sounds and feels to capture each bands ‘sound.’  For example, with some bands I use 3 drum mics, others I use 15. It all depends on the overall sound you’re trying to achieve.  Matching ‘the sound’ to the band is crucial.

Ian Aeillo:  Drums. Where have the good drums gone? You can't tell me that nobody can mix or record drums on mainstream pop records anymore, right? If you have a bad drum sound, you have a shitty sounding record. Also, in productions - bizarre sounds. The weirder the better. I want it in my pop music.

Kellison/Saddler:  Production is vastly important to us--on a musical level and a sound quality level.  The texture of the recording should always have at least attempted to match the songwriting--whether it be clean, gritty or somewhere in between, attention to the song's culture should have been noted during the process. For me, personally, top-notch is all-encompassing--great production, new trend-setting style, excellent songwriting and performance. 

A few albums that changed my life:  Songs in the Key of Life (Stevie Wonder), Voodoo (D'angelo), OK Computer (Radiohead), Thriller (Michael Jackson), Purple Rain (Prince), Sex Machine (James Brown), The Low End Theory (A Tribe Called Quest), Fantastic Vol. 2 (Slum Village), Kind of Blue (Miles Davis), Romantic Warrior (Return to Forever) and The White Album (The Beatles), to name a few...

Chris Steffen:  I think a great recorded sound really depends on the artist or source being recorded. Personally, I tend to try to make things sound as big as possible. I like big fat drums and bass and luscious, rich-sounding guitars. Some of my favorite recordings by other people are albums like Radio Head – Ok Computer, David Byrne & Brian Eno – Everything That Happens Will Happen Today, Mark Knopfler – Shangri La, The The – Dusk, Neva Dinova – You May Already Be Dreaming, Drive-By-Truckers – Decoration Day and Sharon Jones and the Dap Kings – 100 Days, 100 Nights.

Really, it’s kind of hard to pinpoint what I love. I want to hear some soul in it. I want it to be lush and full but really, the door is pretty much wide open from there.

Mitch Cady:  To me personally, it is the songwriting and the underlying soul of the performance. Recordings can be made on bad gear and be technically flawed, but if it is a good song and the performance is done with real feeling, the art will come through. It doesn't hurt to have great sounding gear and a good producer though.

Link to Part II.