Apples Of Idun ‎– Silence of the Loud, Produced by Joona Lukala


Eetu Moisio – vocals, keyboards, programming
Jouni Korhonen – bass
Jani Vilhunen – drums, percussion
Lari Sallinen – guitars, keyboards
Niklas Nybom – synths, effects

Album was produced, recorded, mixed and mastered by Joona Lukala at Noise for Fiction recording studio, Turku

Levy on tuotettu Noise for Fiction äänitysstudiolla Turussa. Äänittänyt, miksannut ja masteroinut Joona Lukala

http://www.desibeli.net/arvostelu/6148

 

 

Big thanks to the whole band, we had a lot of fun producing this album. Here are some pictures from sessions.

Album started with pre-production sessions with the whole band and then individually with each player. We started as usually with drum recording. Composer and vocalist Eetu Moisio prepared some demo tracks, synths, and vocals for drummer Jani “nolu” Vilhunen. Vilhunen is very used to play with loops, click tracks and synths so it was all he needed for the session.

I build isolation tunnel to bass drum to minimize leak from cymbals. With the tunnel, I was able to put some condenser microphones further away from drum head without getting too much cymbal sizzle. Low frequencies have so long wavelength that sometimes you can get more bass frequencies if you can pull mics away from the source and find good spot. I used some 30 microphones for drum recording, a lot of room mics and 5 ribbon mics for cymbals. 3 overheads and hi-hat and ride cymbal was miked with ribbon close mics. I had GAP R2 ribbon pair about 3 meters from the set as blumlein pair and dynamic Heil sound PR40 as a mono room mic. PR40 has very wide frequency response so it is very useful to many tasks. There are 4 omni condenser ambience microphones that are 6-12 meters away from the set. I knew the songs from pre-production sessions, it made drum miking much easier because I could anticipate and plan a kind of drum sounds that different songs needed. I knew some needed more big room sound and some songs, dry and faster sound, it’s always good to have more options in the mix, to get different spaces in song parts, to emphasise structure. You can choose in the mix what mics fits the best for the song.

I knew the songs from pre-production sessions, it made drum miking much easier because I could anticipate and plan a kind of drum sounds that different songs needed. I knew some needed more big room sound and some songs, dry and faster sound, it’s always good to have more options in the mix, to get different spaces in song parts, to emphasise structure. You can choose in the mix what mics fits the best for the song.

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Next was guitar recordings with Lari Sallinen. We had few different amps and cabinets, a lot of guitar pedals and 13 microphones, 2 near mics at each amp and then a lot of room mics. I wanted to get some guitar tones further away from a soundstage, more 3 dimensional sound, a role that is not that typical for electric guitar. Usually, it’s closer, in your face type of instrument and just a touch of room sound. I thought that some of the things Lari Sallinen played sounded great in the room when all amp sounds and effects blended naturally in acoustic space. That was the reason for 13 microphones to get space dimension and to be able to change depth with faders. All the close microphones were dynamics and ribbons, mostly Heil sound PR30 and some vintage models too. Room mics were GAP ribbons and some large capsule condensers.

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After guitars, we started to record bass with Jouni Korhonen. We had DI signal from bass and then we used my old Ampeg bass amp from 1969 and Jouni´s Marshall bass amp. Both amps had Heil sound dynamic PR30 and PR40 microphones as close mics and GAP ribbon pair and tube condenser microphone as room mics. I used Telefunken and Brimar tubes in the microphones.

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Next, we started to record and arrange all the synth, loops, effects and sound design tracks with Niklas Nybom. We had some basic tracks that came from Eetu Moisio´s original compositions and then Niklas played his own ideas, mostly stuff he did in a live situation. Sometimes we used original audio or midi tracks and sometimes we build entire soundscape from scratch. We used software, hardware, analog and digital synths and spend a lot of time to tweak the sounds. We used a lot basic and some really weird guitar pedals and some lo-fi techniques like voltage starve and feedbacking pedals to get more organic quality to tracks. We wanted to get personal sound for each song that fits composition and lyrics. It was very interesting experimenting and improvising with sounds and effects and we had a lot of fun!

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Then was time to light the candles, Eetu Moisio recorded all vocals in the candle light to get more  vibe and atmosphere to recording sessions. Noise for Fiction studio has big recording room, about 6 meters height and when it was dark and just a few candles flickering, the mood was mystique and solemn like in a temple of music. I recorded Eetu´s voice with Golden age Project tube condenser microphone with Telefunken ECC83 tube, I used GAP Comp-54 compressor to even out a bit of huge dynamic range that Eetu uses in his signing. Eetu has good microphone technique and he is very easy to record, so it was all about to get magical takes and interpretation that served the songs best.

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Then was time to mix all 200-300 tracks per song. I made first versions and after long sleepless nights, I had all songs done roughly. Then the band came to the studio and we made all little details and final arrangement ideas. Eetu had a basic idea of song order and we made together all transitions with the band. Lastly, I made mastering and send the record to the band for final listening. This was a great journey, a lot of fun and a lot of work. Thanks guys 🙂

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