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Home Entertainment Ty Segall Shows Off His Harmonizer Studio and Talks New Album, 'Hey,...

Ty Segall Shows Off His Harmonizer Studio and Talks New Album, ‘Hey, Hello’

On a much-needed break from the primary leg of his present tour along with his road-tested Freedom Band, Ty Segall takes a seat in his mood-lit studio management room, mug of sizzling java in hand, and appears round with a visual expression of what can solely be described as marvel. “, to have my very own place to work on stuff is simply pure pleasure,” he says. “I’m usually like, ‘How did this even occur?’ It’s an incredible place to hone my expertise and to get bizarre concepts going, with no strain. The clock’s not working. We’re not burning a price range right here. You get to do no matter you need. It’s simply completely insane.”


Segall has made a profession out of being prolific, so it was most likely inevitable that he’d pool his assets into designing the three-room advanced he calls Harmonizer, named for the album it spawned after he put the ending touches on the studio build-out, accomplished in early 2021 at his dwelling within the Santa Monica Mountains simply outdoors Los Angeles. Compact however state-of-the-art, Harmonizer not solely stands as testomony to the lengthy hours Segall has logged on his strategy to changing into an A-list producer, however it additionally performs a key function as an instrument in Segall’s arsenal that’s simply as essential to his sound as his trusty Travis Bean TB1000S or, extra just lately, his classic Martin D-35 acoustic.

Ty Segall “Hey, Hello” (Official Visualizer)


Title observe from “Hey, Hello”, accessible on LP/CS/CD on July 22, 2022 from Drag Metropolis.Preorder now:http://ffm.to/tyhellohi

All three figured prominently, in reality, into the making of Hey, Hello”—Segall’s newest studio realization of what he calls a “again to fundamentals” album. “It was about coming again to the acoustic guitar, to be trustworthy,” he clarifies. “I believe plenty of the data I make must do with my relationship to songwriting at the moment. And I hadn’t actually performed the acoustic or written on it since most likely Freedom’s Goblin, which at this level is perhaps 5 years in the past. So, to me it was actually like falling again in love with the acoustic guitar. It was a really good expertise to have.”

If there’s a contemporary California sound—a throwback to the late-’60s Laurel Canyon “freak folks” vibes of the Byrds, Buffalo Springfield, and many extra, however infused with a wild and rambunctious onslaught of psychedelic storage rock—then Segall’s music radiates it, and “Hey, Hello” is perhaps the closest he involves making a West Coast “idea album” with out overtly admitting it.

From the stunning waking dissonance and pastoral colours of songs like “Good Morning,” “Blue,” and “Taking a look at You” to the thick, hard-knocking grooves of the title observe and the elegant coda, “Distraction,” Segall touches on themes of reflection and connection that really feel speedy, palpable, and deeply shifting. It may be a little bit of a nostalgia journey, however he pulls off the balancing act with well-wrought songs that convey a way of longing with no hint of schmaltzy artifice.

“, to have my very own place to work on stuff is simply pure pleasure. “I’m usually like, ‘How did this even occur?’”

On the coronary heart of that authenticity is the Martin, which impressed Segall not solely to write down with renewed vigor, but in addition spurred him to get his arms on a microphone that would do it justice. “For all of the data that I’ve completed, I attempt to get one piece of drugs, and that’s the expense of the document,” he explains. “This one was fairly loopy. I obtained a [Neumann] U67. That’s principally the guitar sound on the entire document.”

Amongst studio heads, the U67 is a legendary, and legendarily costly, microphone that has been central to the sound of traditional albums from the ’60s and ’70s, maybe most notably Bob Dylan’s Freeway 61 Revisited and Blonde on Blonde. The mic can harness an enormous arc of low finish with out distorting, however it could possibly additionally protect an elusive and intimate “proximity impact” on vocals and acoustic devices that has made it one of the fascinating, and important, items of drugs in any main studio.

Segall tried a couple of totally different approaches to seize the richness and resonance of the Martin, however ultimately he discovered that simplicity was the most effective rule of thumb to fall again on. “I’d attempt to put some room mics on it and stuff,” he says, “however the U67 simply modified the sensation of all the pieces. I at all times ended up going again to pointing it on the 12th fret, often someplace between six-to-eight inches away. Typically if I needed a bit extra of a room sound, I’d set it to omni, however it was totally on cardioid. I simply stored it easy. That mic is so good, you may put it wherever and it’ll sound superb.”

“I couldn’t assist myself with the wild-style manufacturing transfer on that one. , you’re on the restaurant and you’re like, ‘Ah fuck it, I’ll get the lobster!’”

The album’s closing suite of songs, starting with the whimsically titled “Saturday (Half 1),” most likely finest signifies how Segall was in a position to make use of the U67 to his benefit. The opening acoustic filigree and Segall’s hypnotic vocal mix to recall vestiges of White Album-era Beatles, however with a startling presence and stereo imaging that creates an actual under-the-skin sensation.

“Saturday (Half 2)” brings within the Freedom Band’s Charles Moothart on drums and Mikal Cronin on saxophone, with Segall on bass and electrical guitar, steadily stoking a psychedelic warmth that will take the Doorways to process. When Cronin crashes into the combination with a horn solo that consists of two stacked takes, the in-your-face blast all of the sudden elevates the music to a very totally different stage.

Ty Segall’s Harmonizer Studio Gear

“The clock’s not working. We’re not burning a price range right here. You get to do no matter you need. It’s simply completely insane,” says Ty Segall about working in his personal studio.

Picture by Denée Segall

Guitars

  • Late-’70s Travis Bean TB1000S (tuned to D normal)
  • ’69 Les Paul
  • Classic Martin D-35
  • Gibson B-25 (for dwell exhibits)
  • ’68 Gibson EB-Zero bass
Amps
Results
  • Boss FZ-2 Hyper Fuzz
  • Demise by Audio Apocalypse, Fuzz Warfare, and Octave Clang
  • DOD Performer Flanger 575
  • Electro-Harmonix Nano Small Stone
  • Electro-Harmonix Sovtek Deluxe Massive Muff Pi
  • Moog Minifooger MF Delay
  • Roland Area Echo RE-201
  • Univox Tremendous-Fuzz

​Studio Console & Choose Outboard Gear

Trident 88 Console (“Hey, Hello” was tracked on Segall’s TAC Scorpion Console, now retired)
Studer 2″ tape machine (circa mid-’80s)
Ampex 351 Preamps (classic)
Antelope Audio Orion 32 AD/DA audio interface
Electrical Audio EAPreQ
Eventide H949 Harmonizer (4 models)
Highland Dynamics BG2 compressors
Normaphone customized preamps (designed by Greg Norman at Electrical Audio)
SPL Transient Designer
Common Audio Basic 1176 Compressor (classic)

Strings & Picks
  • .011-gauge strings
  • .88 mm picks (no most popular model for both)

“I couldn’t assist myself with the wild-style manufacturing transfer on that one,” Segall jokes. “, you’re on the restaurant and you’re like, ‘Ah fuck it, I’ll get the lobster!’ It was enjoyable, and Mikal simply clearly rips. He came to visit to the studio for perhaps an hour, and after it I used to be like, ‘Wonderful dude, thanks!’”

It’s price mentioning right here that Segall data nearly obsessively to 2″ tape, which lends one other layer of analog thickness to “Hey, Hello” that isn’t straightforward to breed with a strictly digital setup (though he has just lately began transitioning to hybrid digital-analog recording). “I demo on tape, which is insane,” he reveals, “however I do like the thought of burning over one thing if it’s not good. For me, holding one thing dangerous is only a waste of tape. If there’s a cool thought there, rip a shitty combine to the pc so you might have it, and then roll over it. I don’t need to be the form of studio that has 50 reels simply stacked in a nook, you already know?”

Tape saturation performs a job within the Led Zeppelin II-like sound of the album’s nearer, “Distraction,” which options Moothart channeling the ghost of John Bonham on drums, however the actual secret sauce boils all the way down to Segall’s capability to adapt as an engineer and producer.

Ty Segall’s Harmonizer Studio was named after his 2021 album, which he was impressed to make after constructing out a three-room recording area in his dwelling within the Santa Monica Mountains. Word his MVP Neumann U67 at middle.

Picture by Denée Segall

“Like the remainder of the document, so far as the writing went, it was a coffee-in-the-morning factor,” he says. “After the acoustic demo, I did the primary model with Charles, and it sounded huge and electrical, however I miked the drums flawed and the room therapy was flawed, so I needed to begin from scratch.”

Moothart’s drum equipment was arrange in Harmonizer’s isolation room, which Segall retreated by including extra sound-deadening panels and stripping down the microphone scheme. “I simply re-miked all the pieces in a less complicated manner, and then I cooled off on the compression and EQ as a result of I assumed it will be a greater vibe to not be so heavy-handed. And that was once I obtained my Trident [mixing console]. I took a complete day to combine it, which you don’t get in studios once you’re paying for time. In order that music has three variations on the market. That’s not uncommon for me. Some have three or 4, as a result of I’m consistently seeking to redo one thing if it’s not proper.”

This Trident 88 Console is a brand new acquisition to Ty Segall’s Harmonizer Studio. “Hey, Hello” was tracked on a TAC Scorpion Console, which Segall has since retired.

Picture by Denée Segall

Segall held to simplicity when recording his beloved Travis Bean TB1000S, which he at all times routes by a beat-up Fender Quad Reverb. He comes again to the album’s moshpit-ready title music for instance. “I simply felt just like the document wanted one ripper, so I picked that one and it labored,” he says.

“For me, holding one thing dangerous is only a waste of tape. If there’s a cool thought there, rip a shitty combine to the pc so you might have it, and then roll over it. I don’t need to be the form of studio that has 50 reels simply stacked in a nook, you already know?”

He added a Boss FZ-2 Hyper Fuzz to the sign chain, giving the guitar an explosive sound that comes very near peeling paint on the quantity Segall often performs. “That’s the U67 on nearly all the pieces besides the bass. I imply, I’ve to say it once more, that mic simply makes it really easy to document the guitar. I at all times do the hand trick, the place you unfold out your fingers and place it a few hand’s width away from the speaker. Supply and sign aren’t gonna harm that mic—simply flip it up and there it’s. I believe I used my Ampex for the mic preamp, however that’s it.”

A Martin D-35 impressed Ty Segall not solely to write down with renewed vigor, but in addition spurred him to get his arms on a microphone that would do it justice. “The U67 actually simply modified the sensation of all the pieces,” he says. “I at all times ended up going again to pointing it on the 12th fret, often someplace between six-to-eight inches away.”

Picture by Denée Segall

“Hey, Hello” is Segall’s 14th album in an unbroken stretch of feverish creativity that started in 2008 along with his self-titled debut—an ultra-raw slab of sinewy protopunk surf storage that also holds its charms, however Segall is in a very totally different headspace now.

“Certain, you already know, it at all times feels nice to get the sound you’re in search of,” he says. “Despite the fact that I simply needed to maintain this one traditional, I really feel like there’s at all times a query mark till a document is out, and till you might have time away from it. After I was absolutely completed with it, I wasn’t positive, however now that I’ve had a while other than it, it’s what it’s. And I actually love what it’s.”

We’d nonetheless like to name it the primary wave of a new California sound, however perhaps that’s finest left to the producer, too, till subsequent time.

Ty Segall & Freedom Band – Full Efficiency (Dwell on KEXP)

On this current KEXP studio live performance, Ty Segall digs proper into his Travis Bean TB1000S, introducing a full-on guitar suggestions assault because the Freedom Band follows go well with within the feverishly funky, fuzzed-out “Whisper,” from Segall’s 2021 album, Harmonizer.

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