The Making Of
16.02.04, 08:22 - Setting up the recording equipment: The process of setting up the equipment was a long process. The setting up took four hours to setup and check levels. The audio was to be recorded onto a specially built audio PC via audio I/O interface. Eight channels of audio where available via direct microphone input plus the additional ADAT along with A/D converters allowed use of an extra eight tracks resulting in 16 overall tracks which was ample for the project. Each of the tracks were pre-amplified via an external mixer that controlled the levels of audio for input into the Audio PC. Each channel was then individually tested to ensure any problems could be cured at this early stage. Once all audio cables and channel testing was complete the instruments where then set up for recording.
16.02.04, 10:07 - Setting up the instruments: The instruments where mainly set up in the first rehearsal room with the vocals positioned in the second rehearsal room to ensure a clean vocal sound with no audio bleed. In the first rehearsal room the drums, bass and guitar where set up. The drums where position against one wall facing into the room. The bass speaker was positioned away from the corners facing away from any other instruments to avoid any bass trapping. The guitar speaker was then set up in the opposite corner to the other instruments. The guitar speaker was also positioned facing away from any other instruments to avoid bleed from the other instruments.
16.02.04, 10:49 - Miking the instruments: Once the instruments and equipment were setup, the microphones where then positioned. The drums required the most miking for obvious reasons. Microphones where generally positioned 1 1/2 inches from the tom skins, carefully angled away from direct symbols. A Shure SM57 microphone was used on the snare pointing a couple of inches from the rim and also carefully positioned to avoid any bleed from the hi-hat. Two overheads where used in a simple X-Y configuration positioned low down above the symbols in order to capture a true stereo image of the drum kit. These overheads also helped to capture a brighter, cleaner cymbal sound. The kick drums where not microphoned but triggered with the use of a DM5 connected to the control desk. The kick drum microphone was used on the bass speaker as this gave an excellent bass sound for the recording. This microphone was positioned directly into the bass speaker about an inch from the cone. Two microphones were used on the guitar speaker. A Shure SM57 was positioned off center and two inches from the speaker cone. Another Microphone, a large diaphragm microphone was positioned about a foot from the speaker. Neither of these two microphones gave an ideal guitar sound and so where combined in order to recreate the sound of the guitar speaker cabinet. The first rehearsal room was now setup and includes the drums, bass and guitar to be recorded simultaneously. The vocals where also recorded simultaneously with the other instruments but isolated from them in the second rehearsal room. A Shure SM58 was used for the vocals. All microphones were then tested and levels adjusted accordingly. The whole set-up process at this point had taken near-enough four hours to finish.
16.02.04, 13:00 - Recording the tracks: After a short break the recording began. The process began by performing several warm-up sessions which also doubled up as a system stability test. Each song was recorded clean into the Audio PC. Each of the tracks were recorded with around eight to ten takes each thanks to the fact that Hereafter do all the work themselves producing a unique Hereafter product. Once a take was decided on, it was marked off as the master take which overdubbing and editing would be performed upon. During the first day of recording five songs where recorded. The second day would be used for the remaining tracks and any required over-dubbing before studio was to be once again gutted. Hereafter finished off the first day at around 22:00.
17.02.04, 10:00: Another warm-up session to prepare for the second day of recording. The final tracks were recorded again with eight to ten takes each. After the final track was recorded and a short break, each song was again listened to with fresh ears to ensure that each take was perfected and a solid foundation to the album was built. Once Hereafter were happy with the takes, the over-dubbing of takes could now take place.
17.02.04, 14:00 - Over-dubbing: The over-dubbing process included any backing vocals, or any fixes or other notes to be added to any of the tracks. The stage was mainly used to lay down the backing vocals on several different takes. During this time, different vocal styles where also re-recorded for each of the tracks to obtain the best sound. Once all the recording was complete the studio once again was to be gutted. Hereafter finalised recording at 18:22 on 17.02.2004.
Clean-Up: Now that a solid foundation has been created the clean-up of the audio could begin. From the this stage onwards, the audio and equipment was shipped to the dedicated studio room at a different location. This enabled Hereafter to produce the album in their own environment. The clean-up of the audio began by removing any pops and clicks that may have occurred during the recording. This tedious process took time as each track was repeatedly filtered through to remove any pops and clicks in the audio. This was made possible by simple draw tools within Pro-Tools software. Any timing problems caused by system lag between the original audio and over-dubbed audio where also fixed at this stage. Also any noise and microphone bleed are reduced using software plug-ins within Pro-Tools. After several hours of clean-up, the audio was now capable of being edited and mixed without the inclusion of unwanted sound.
Editing and Mixing: The sound was then edited beginning with the drums. Most of the editing was executed using equalisers, compressers and minimal reverberation. No other effects where used in order to keep the characteristic sound of Hereafter. All the instruments where edited so that no tracks where clipping once the tracks where edited. Once the sound of the drums had been produced the guitar sound was edited once again using only equalisation and compression. The same technique was executed for the bass. Once the three instruments where editing the levels where then mixing beginning with the kick drums and bass, followed by bass and guitar and then all together. Once a good sound and level where found for the instruments the vocals where added to the mix. Once all the tracks where mixed and edited, the tracks where each bounced ready to be imported into mastering software for the final mix-down process.
Final Mix-down: All tracks where given a fresh listen too. It was Hereafter's decision to begin the album with one of the newer tracks. It was decided that a catchy, upbeat track would open the album. The second track was decided to attack fast to capture the attention of the listener. The rest of the tracks where added to keep the listeners attention. More mellower tracks where added towards the end of the album before the final onslaught was to begin.