This piece is definitely one of our faves, and now you can make it yours too…

Starting in October 2013, Puppy Machine started working on its 3rd post audio project with Corby Luke of ENGINEARS — a full sound design and mix for this incredibly beautiful and cinematic dance documentary.

Almost a year later, we’re finally able to see it on the big screen. Not only that, but Kaha:wi has received 4 Ns from NOW Magazine’s Norman Wilner.

For a sneak preview, click HERE.

Kaha:wi : The Cycle of Life, which is featured at the imagineNATIVE Film + Media Arts Festival, is showing TONIGHT: Thursday Oct 23, 2014 at 7:30 pm at TIFF Bell Lightbox, and is part of the CINEMA SISTERS: WOMEN’S PROGRAM.

We’d also like to give big thanks to the team at Coptor Productions, along with the director, Shane Belcourt.

Let us know what you think!

Kaha:Wi : The Cycle of Life

The Cowboy Buddha Band recording at Puppy Machine – May 9, 2014

There’s something to say about recording “live off the floor”. That is to say, recording a band NOT using total isolation, separation, and multi-track via recording booths. There’s a special connection each musician makes with one another as they are able to feel the nuances between them to produce the best live-like performance as they can. This is where much of “the magic” takes place. The band can stop and tweak their playing to be able to capture the moments they end up manifesting on stage. I’ve been a studio musician for 13 or 14 years now, and I have to say there is nothing quite like playing live with your fellow musicians vs recording against pre-recorded tracks.

The Cowboy Buddha Band are a phenomenal trio of musicians whose range covers from art-smart alt country to good ol’ rock n’ roll and can easily switch into the ethereal. You may think, “Oh yea, I know that sound”, however, these three men who’ve been playing together for years and years have such a special sound, they can jump from one genre to another and hand over a plate of musical cornucopia – you will vacillate between being sated and craving more.

I had the fortunate experience of not only being able to record them, but run through their entire set list. Every single song the Cowboys played was truly amazing; it honestly made me want to be a better musician.

Karl Mohr of Multibeat Records joined us as a recording assistant and for some creative recording

Recording Session Prep Day at Puppy Machine

input, as well, our Post-Production Supervisor, Corby Luke, of ENGINEARS. With everyone’s input, we came up with a brilliant mic selection and arrangement. Although multi-engineer/sound designer/mixer input can sometimes be a problem (no, THIS is the right way, or, this is the ONLY way to mic a kit), it certainly was not in this case. The blend was perfect. In fact, Karl complimented me with much glee that I was being less bossy than normal.

Jerk.

The recording consisted of 2 Neumann 184s on the guitar (hole and 12th fret), plus a DI plugged straight from the guitar. The Shure SM-7 for up-close and personal vocals. One Neumann TLM 103 for the clarinets and Husuli, and one more 103 for the back of the Cajun to pick up the amazing BOOM and high end of this fantastic homemade-style hand-drum. For a little extra high-end snare qualities for this puppy, I added an SM-57.

Because of the close-proximity qualities of these mics, we were able to capture some really nice audio separation, along with the trio being able to capture their acoustic, yet intimately powerful, emotive play-style.

The Cowboy Buddha Band consists of reeds such as the sexy bass clarinet and the double-reed Hulusi by Jeremy Edwardes, acoustic guitar and vocals by John Bridgins, and the DIY sound of the Cajun by Frank Locicero. Check out their facebook page for updates and show dates. Also – I’ll be mixing their demo, so be sure to check back in for that.

I really can’t say enough about these guys: friendly, performatively conversational, lovely to work with, and a really great sound.

L to R: John, Jeremy, and Frank – The Cowboy Buddha Band

We have so much access to music and music production these days, and this access makes the world of tracking vocals and mixing beats truly inspiring. However, walking straight into recording without knowing some basics can quickly crush your inspirational dreams. Follow these 5 beginner steps and you can save yourself some agonizingly long sessions, embarrassing performances, and even a lot of money.

1. On-the-Fly vs Unprepared

Some people like to wing-it during their time in the booth – and that definitely can make for a powerful and adrenaline-pumping performance, however, not everyone can pull it off. If you don’t have any experience recording your tracks on-the-fly, the best thing to do is practice. Knowing your material front to back will help build your confidence and self-esteem. This includes knowing the pre-chorus, verse, back-ups, harmonies, and the hook.

You’ll quickly realize, once you step into the booth and the mic goes live, performing becomes a whole other experience. Nothing can truly prepare you for a studio recording session – only doing it will. However, arming yourself with your own material will keep you one step ahead.

2. The Booth is Different Than Your Shower

As I just mentioned, you’ll quickly realize being in the booth with dj-style headphones and mic in your face is a verrrry, very different than the shower you’ve been singing in all these years.

Outside of our talking voices, most people don’t have a concept of how sound works. Singing on stage is not like singing in a studio, and singing in a studio isn’t like being in your bedroom. Once you’re inside the studio, the doors shut, the lights get dimmed, ears now covered by a large, squishy, amplified version of earmuffs, you place yourself in front of this foreign object called a microphone aaaand… GO!

What I’m saying is this: it’s going to be awkward for a little bit, but it will get better. Ask your studio friends and your engineer for some mic tips, and don’t be afraid of it not being perfect the first few run-throughs.

 3. Finding the Right Engineer is Like Finding Your Best Friend

Okay, maybe it’s not that hard, but it can lead to heartache if you don’t have a good foundation first. Meeting with your potential engineer to see if there’s a good vibe between the two of you is key. You’re  hiring them for their services, and not all engineers are equal, so sit down and start interviewing. Ask them about their clients and who their repeat customers are. Ask them to listen to their past work, and definitely check out the gear they have.

Yes, like performers, engineers can also have big egos. Make sure their ego isn’t too big that it takes up all the space in the room. You want to feel at ease with an engineer. Unless you’re working with a producer, your engineer should be drawing the best performance out of you as possible.

4. Be Kind to Your Vocal Chords

I have been singing for 25 years, and I will tell you – your voice CAN falter with age. But if you smoke, drink, and refrain from filling your body with H2O on a regular basis – you WILL destroy your vocal chords.

Things TO AVOID on your singing day:
coffee, black teas, smoking, alcohol, not eating.

Things TO DO on your vocal tracking day:
get enough rest, stay hydrated, eat fresh fruits and salads.

Now let’s say you were up all hours and stink like the bar you walked into the night before… Here are the best vocal chord softeners just in case you can’t re-book your session: honey and warm water, licorice tea at room temperature, and radishes. Yup. Radishes. And keep the liquids a-flowin’.

(Do note: if you cancel your session last minute, most studios will charge you anyway. Consider this Tip #6.)

Even gabbing with your friends for just an hour will help, but make sure you warm up your voice before you start recording. Check out some videos online if you need some vocal warm-up exercise ideas.

5. Saving Time and Money

Short and simple – if you consider all of the points above – practicing, treating your voice with respect, getting comfortable in the booth, and working with the right people – you will undoubtedly save time, and saving time will save you money.

If you’re looking to finally piece together your long-awaited music project this spring and summer, come and check out Puppy Machine’s recording and mixing deals. With our experienced engineers, comfortable atmosphere, and fully-equipped recording facility, we’ll make sure the music you sing in your head gets brought out into the world.

At this point in the evening (aka. 5am), Mo Peterson and I were propping ourselves against each other out of sheer exhaustion. We also agree that we both hate the gratuitous and posed “Can I Have a Picture with You” celebrity photo. Next time we’ll take pictures of us doing somersaults.

Thanks to Sam Fleming for the hook-up, and to Iam DF for being my late-night chaperone and music cohort. — at Puppy Machine.

Oakland, California band Rogue Wave performed at the KEXP studio on July 17^th, 2013. The band was formed in 2002 by lead singer, Zach Schwartz. Rogue Wave has released five studio length albums and one EP.  Their music has been featured on many television shows and movies including Friends with Benefits, Chuck, The O.C., One Tree Hill, and Nick and Norah’s Infinite Playlist.

Rogue Wave performed four songs for KEXP: Figured it Out, College, S(a)tan, and Kicking the Heart Out. All of the songs but Kicking the Heart Out, are off their latest record, Nightingale Floors, which was released on the fourth of June. This record was released after a hiatus of new music lasting over three years, their last album, Permalight, was released March 2^nd, 2010. This three year break for the band allowed Zach Schwartz to focus on another project, Release the Sunbird.

Of the four songs performed, the highlight of Rogue Wave’s KEXP performance for me was Kicking the Heart Out. It’s use of guitar to lead into the choruses and verses, along with the call and response vocals created a very engaging track that ended the performance on a high note. A close second favourite would be the song S(a)tan, which used heavy percussion and bass harmonizing with steady guitar melodies. S(a)tan) also featured airy vocals reminiscent of Radiohead.

I would recommend Rogue Wave to anyone who is a fan of American alternative rock bands Nada Surf and Matt Pond PA.

Recorded – July 17^th, 2013.
Published – August 8^th, 2013.
Image courtesty of KEXP Radio

Oh, KEXP Radio, how we love you. So much music, so many performances, so many videos uploaded and handed to us internet surfers on a silver platter to explore and soak in the incredibly vast world of music. Although already broken out on the scene, Kimbra will be our focus for today’s music and performance review.

The New Zealand born musician, Kimbra (Lee Dawson), is known best for her chart topping collaboration on “Somebody That I Used To Know” with Gotye. Previous to the release of the worldwide hit, Kimbra had recorded many singles of her own along with a full length studio album, Vows, which was released in 2011, and later re-released (Vows Remixes) in 2012.

Her performance for KEXP consists of three songs: “Two-way Street”, “Withdraw”, and Nina Simone’s “Plain Gold Ring”. She provided the lead vocals of the performance with a male background singer who also provided piano melodies for the first two songs. The last song, “Plain Gold Ring” was accompanied by percussion and guitar, and is virtually unrecognizable compared with the original Nina Simone version of the song. Kimbra’s unique sound relies heavily on the use of live looping equipment for her vocals, heard most prominently when she harmonized with her recorded self.

Kimbra has said in an interview with Stated Magazine that she is inspired by ”music that touches me emotionally but also surprises me on a musical level”. Some of the musicians she has referenced include Jeff Buckley, Rufus Wainwright, and Björk. Kimbra also states in the interview with KEXP that she is “cinematic in the way (she) writes”, trying to build within the song an introduction, some tension, and a climax and resolve. She demonstrates this on the opening song of her performance, “Two-way Street” which opens with one strong tension heavy note.

Kimbra’s way of approaching music creates an interesting performance, her limited accompaniment and use of technology is rare for her chosen genre of Jazz. From an audience perspective, I wish there had been more variety to the three songs she performed, as no one song stuck out to me.

Her sound is reminiscent of the late Amy Winehouse’s. Anyone who enjoys cabaret style Jazz will probably enjoy the musical stylings of Kimbra.

KEXP Radio Performance Review
Artist – Kimbra
Recorded – September 26, 2012

I went into The Lone Ranger with a sense of wariness. Many previous reviews I had read stated its low box office draws and its poor portrayal of First Nations culture. However, the movie did not disappoint me, and, in fact, exceeded my low expectations. But really, I was walking into the film with a speculative eye to examine the overall sound design and music score.

I felt much of the plot pulled from the previous collaboration of Jerry Bruckheimer and Johnny Depp in the Pirates of the Caribbean franchise.  This was shown in the supporting characters. For example, in both movies (The Lone Ranger and Pirates of the Caribbean) there is a male character that belongs on the “bad” side and enjoys dressing in drag. Johnny Depp also played both characters (Tonto and Captain Jack Sparrow) with the same care free, whimsical outlook on the outside forces stacking against his character in the movie.

The music both (diegetic and non-diegetic) was exactly what you would expect for a Jerry Bruckheimer produced epic. The memorable classic Lone Ranger theme weaved in and out of the bands and choirs seen on screen. The score created a powerful ending scene, especially to the finale of the movie.

The sound effects were particularly strong in one battle scene in which a menagerie of sound effects happens in rapid succession creating a lasting impact on the listener/viewer. Some of the sound effects were overpowering during the movie (especially the opening scene featuring the inquisitive little boy eating his peanuts) and took away from the realism. However, the long periods of almost complete silence leading up to the pending disasters on screen made the visual effects that much more powerful.

My favourite scene from the perspective of sound design would have to be the scene in which The Lone Ranger and Tonto go and inquire within Red Harrington’s brothel. Everything from the clicks of the gun inside her peg leg to the background party ambience created a strong realistic scene. The transition from this chaotic scene to the next scene featuring the love interest, Rebecca on a quiet river side made it stand out even more vividly.

Being able to browse through the world of new and free music with incredible ease has been made possible by so many avenues on the internet. One of the great contenders who offers this great music service is Seattle-based radio station, KEXP Radio. Earlier this year, KEXP posted a performance by Iron and Wine who played at South by Southwest.

Samuel Beam, more commonly known by his stage name, Iron and Wine, is recognized for slow sad songs such as “Passing Afternoon” off his second album Our Endless Numbered Days, which was used on many television show soundtracks including House MD and Degrassi, The Next Generation. However, upon the opening of his half hour long set for South by South West, he starts with the upbeat song “Grace for Saints and Ramblers”. His lack of set list makes for a truly unique performance.

In many of Iron and Wine’s songs you can hear religious undertones that stem from the artist’s Christian upbringing. Some examples of these would be the opening song “Grace for Saints and Ramblers” and the song “Glad Man Singing”. While he has stated in interviews that he no longer follows that faith, you can still hear in his music that he has drawn inspiration for his music from it.

The stand-out song of the performance, for me, was the heavily poetic ballad “Lion’s Mane”. Even though he muddles some of the song and has to stop and restart, it is still a powerful performance. The lyrics reminded me of the writing style of Leonard Cohen in his use of language.
I would recommend Iron and Wine’s acoustic folk music to anyone who listens to Wakey!Wakey!, Bon Iver or Canadian artist, City and Colour.

Watch Iron and Wine’s SXSW performance on KEXP Radio here.
March 16, 2013

I love music. All different types and genres, and music from any time. You could ask anyone from any time in my life and they will tell you I have had a love, actually, more of an obsession with film and television. I have always wanted to work in the industry, but due to years of self-doubt and negative reinforcement from family, it took a long time to realize how and in what capacity. It turned out to be sound design.

But my experience in the entertainment industry was zilch, zip, nada…

I’ve played piano for 15 years. The flute in high school band, school Christmas concerts, music festivals such as Kwanas and TCDSB Educational Music Festivals – but that was it. Besides playing around on my keyboard at home, when it came to recording and studio experience, I had none to speak of. I wanted to learn more, so I applied to Trebas Institute.

But before I even came to the conclusion of wanting to work in audio, I went through a couple of different career options such as a chef (definitely not for me!), my love for reading and novels made me jump to writer (although I’d like to think my writing skills aren’t horrendous, but perhaps it was a desperate leap!), and teacher (I have a lot of family that went into teaching, I thought maybe it would be a safe profession). In my head I went through careers like shuffling through music on my iPod. When in high school, I guess it’s pretty normal being unsure of what kind of career you want to have for the rest of your life, but deep down I knew what I wanted. 

Sadly, throughout high school I felt I wasn’t good enough and wouldn’t acquire the right skills to work in film and television.  I felt I didn’t have the right personality for the type of career I aspired to have — I became so nervous about putting myself out there and only dreamt about failing. My family didn’t help either. I have a cousin in the industry (not for sound), and she told me in so many words, that I wouldn’t be right for this career. My step mother said something along the same lines as well:  I was too quiet, it’s too hard to be successful at, and I didn’t have the drive to succeed. I constantly told myself the same things; that I just wasn’t good enough and it was stupid of me to even try. So I put it out of my mind and decided to go a different route.

I enrolled in the General Arts and Science program at Humber College. I had absolutely no interest in it or passion for it, so, I dropped out  half way through the year and took the next 3 years working at a newspaper, clipping job ads for sales representatives. It was fine for the first year — I was making good money, working with my semi-estranged sister, and the people seemed nice. By the second year my sister left the job, and by the third I was itching to get out. I was working a dead-end job that was killing me slowly. I would wake up angry at the world (mainly at my employer) and I would spend the whole day feeling dejected, depressed, and hateful.

However, I only have my self-doubt to blame, and I was weak enough to let those thoughts get the better of me.

I finally decided that I had nothing to lose — it was now or never. Now or spend my life in a job that was going nowhere and would most definitely kill my entire imagination. So I researched jobs in film, television, and music and went back to school for audio, and began to work on my dream.

When I started at Trebas I wanted to record music — working with talented artists and be part of the process of making an album… I still think about this, but I soon realized I wanted to do sound design, ADR (automated dialogue replacement), Foley — maybe even composing — who knows? My interests haven’t changed much from recording music, though. I hope one day I will get the chance to assist or record an album, but overall, I feel sound design is just better suited for me.

This leads me to where I am now — starting my career where everyone does — at the bottom, interning, writing, soaking in everything and trying my best. And I know I am doing what I love, and I am passionate and determined which makes me confident in believing I will succeed.

Shabazz Palaces – Black Up
Record Label – Sub Pop

The Seattle duo Shabazz Palaces released Black Up; a follow up to two EPs released in the summer of 2009. Black Up was released in June of 2011. The duo consists of Ishmael Butler and Tendai Maraire. Ishmael has enjoyed previous musical success in the group Digable Planets.

What makes this album so interesting is a combination of many different elements. The record itself consists of ten tracks, however all these tracks blend together seamlessly giving the listener the impression they are listening to one 35 minute long song. A secondary element that makes this recording so rare is the blending of genres of jazz and hip hop, which can be both heard on many of the tracks.

One thing that stuck out to me on this album was the repetitive patterns the lyrics were used in, creating almost a reverent chant on many of the tracks. This is especially true on the standout track, Are you… Can you…. Were you?, whose chorus is the repetition of the phrase “it’s a feeling”. This track also contains very simple instrumentation which amplifies the lyrics of the rap. One criticism I had for the album was I found some of the derogatory language used in the lyrics took away from the overall listenability of the songs.

I would recommend this album to anyone who is a fan of Shabazz Palaces’ previous releases, along with any fan of Ishmael Butler’s previous work in Digable Planets. I would also recommend this for any fan of experimental hip hop or jazz-influenced rap.