Professional Sound - February 2018 - Page 40

felt was necessary for him to succeed as an artist. The self-taught musician and producer started out committed to a DIY process and maintains that mindset today; he’s worked that way more or less since recording his debut album, 2005’s Insecurity, which led to a deal with indie label Audiogram, and four subsequent records, including 2016’s Superfolk. He’s always had a recording space of some variety. “I just thought that if you want to be a singer/songwriter, this is what you have to do; you have to have a few mics and be able to play a bunch of different instru- ments and produce records for yourself. I just thought everybody did it that way.” Kelly’s choice of gear also reflects his process and the needs of the dual-purpose space. “I’ve got some pretty sweet pieces of hardware and a nice mic collection, and I’ve got 32 inputs, which is quite a lot for a ‘pro- ducer’s studio,’” he says. As he began producing other artists, working more in film and television, and gen- erally just collaborating more frequently, he realized he needed a proper studio. Sunset Hill is the only space of his own that’s been truly permanent – not a temporary rig in his basement or bedroom. “Everywhere else I set up my gear, every time I would pull the mic away from the source a bit, it would sound like shit. That was the thing I was missing. You can have great microphones and mic pres and amazing monitors, but you’re not really hearing your monitors until you have a decent room to put them in. This was really the next step for me – a good-sounding space that’s enjoyable to work in, and that was more important for me than getting a Neve console.” For recording, Kelly uses an Apple Mac Pro 6-core running Logic X and a pair of Univer- sal Audio Apollo interfaces. Rather than a physical console, he opted for a Slate Media Technology Raven MTi multi-touch console, which provides all the functionality of a hard- ware desk in a touch screen format. While Kelly admits it’s not the same as moving physical faders, it does recreate the same workflow with a slew of additional features and conveniences. The Raven answers some concerns not only in terms of the physical infrastructure required for a normal console, but of making recording more about music than technol- 40 • PROFESSIONAL SOUND ogy. “I come from a live sound background and used to work at the Spectrum and Me- tropolis, so I used to work with big ass analog consoles and we were always fixing them. Always. I wanted a space I can make music in and not always be working on maintenance and stuff. That’s the main thing for me.” The Raven is placed on his main work surface below an additional display, but when mixing in 5.1, he moves the upper dis- play to the side and puts his centre speaker in its place. Kelly’s system also includes a Dangerous Music D-Box monitor controller for input source monitoring, switching, and a variety of other tasks, and a pair of Dorrough 40A2 analog loudness meters. “I didn’t really need something else to look at, but when I’m mix- ing film, I do use those a lot.” He also has a variety of outboard gear. Among his latest purchases are a Gyraf Audio Gyratec X compressor and a Manley Labs Massive Passive stereo EQ. “Tube stuff,” he says, “because my latest album, Superfolk, I mastered myself. The more I work on albums, the more I kind of master as I go. I don’t think it’s a bad idea to send it to someone else and get a fresh perspective, but I also track with the mastering-grade gear because it’s a mean chain for whatever you put through it.” For monitoring, he has a number of loudspeakers, but typically defaults to his mains: Klein & Hummel O300s and an o800 sub, or Yamaha HS5s. “I’ve got five of the K&Hs and the sub, so when I’m not using the surround system, I use one pair in the smaller booth for when I use that as a control room.” Previously, Kelly recorded in Cubase, but eventually switched over to Logic. Beyond being inexpensive and providing him with the tools he needed, typically, he found, many studios tended to use either Logic or Pro Tools. “I thought it would be more conve- nient to learn Logic so I could open my ses- sions at more studios in Montreal,” he shares. Unsurprisingly, as someon ݥѠѡ+q̳téȁչЁ5$)Ѽѡ聄ȁIٕɈ5͡)х́ݕ́ձѥեх)ՑMɅѽͽ)L԰5ɕAɕɔQ屽)ѥ̰ٕQ хȸ)ȁɑ݅ɔ剽ɑ̰ѡɗé)مɥ七q$͔Ёͽ݅ɔѡ̳t)̰ͅѥձɱ䁙ɽ9ѥٔ%յ́)ѡ͔ɽ٥ݥѠ1 ͕Օѱ)éݥѡ䁽́9ɐA)5͍)5Aɼص ɔ)1`)UٕͅՑՑ%ѕə̀Ȥ)MєIٕ5Q5ձѤQՍQՍ͍ɕ ɽ)=щɐ)) MLAH) ɥѤͥ4) ՑI ĸ) `)ɥ1́ɕͽ̀Ȥ)ɥ1͕́ȀĤ)ɥє%M)Ʌͥ)Ʌͥ̀Ȥ)ɅՑɅѕ`)51́5ͥٔAͥٔMѕɕQՉD)9ٔ́1Ȥ)Aձմ= 0)AՑIL)IȀе 5Mѽ)MM0)Q ɽ4=a0)YѕՑ)]ɴՑ])5ѽɥ) ɥȁ ɥѽ )ɽ́5ͥ ɽ՝ȀȤ)-!յ<Ԥ)-!յMՈ)-!յ<Ȥ)e!LԀȤ)!)IP!5@) ɑ幅P) ɥՑ5 ٕѕ)M͕ȁ!)M͕ȁ!)M͕ȁ!ɼ)M͕ȁ\̀Ԥ