Blueroom Studio
Name: Blueroom Studio
Business: Recording Studio
Address: Craigboy Road
Donaghadee
BT21 OLP
Telephone: 028 90 200 397
Website: http://www.backbeatrecords.co.uk
Run by engineer Pete Pratt, Blueroom Studio in Donaghadee is relatively new at just over 3 years old but already has built up an impressive list of clients, including Bangor indie outfit Kowalski. AU met Pete to talk about how things run in the studio.
What inspired you to set up a studio?
I used to play in a band call Morph, and at first we built the studio as rehearsal room, with a basic 4 track to record any ideas we had. As more money came in, we expanded bits and pieces until it became the original Blueroom studio. It’s been running for three years now, with the studio being based in its new premises for 4 months.
What are your preferred music styles to work with?
I enjoy working with a large range of styles as it helps to keep things fresh. Shoegazey indie rock is my favourite probably, though I have recently really enjoyed working on dirty bluesy stuff. I haven’t worked with much heavy rock or metal, but that is only because most bands tend to look for a studio that has recorded other acts that resemble them. The heaviest band I’ve worked with was Lotion, for their ‘Voodoo Priestesses and Interplanetary Craft’ EP. It was a great experience, and the music turned out really well.
Do you like to get involved with the creative process during recording?
Definitely, I try to get the most out of the bands that come to me. I tailor my work to suit the band, never the other way round. There’s no stock way I choose to to mic up drums, or a particular guitar sound I’m going to use. They set up how they like, and I try to capture that. We use it as a creative process, rather than just a document. It’s resulted in some interesting methods, like recording vocals through bins and gas cylinders.
How would you describe the studio atmosphere?
It’s light, I don’t keep it professional, or watch the clock. If things are going well, it’s not uncommon to go into the small hours. At the same time, I don’t let people get away with sloppy takes. The emphasis is on the performance, rather than technical perfection. It’s about getting an atmosphere, getting the vibe. Recently, almost everything I do I try to record live as a basis, with amps mic’d up and screened. People play better in that sort of situation, and you get a much more natural sound.
Do you find that songs change during the recording process?
If I think that something doesn’t fit, or doesn’t sound right, I’ll let the band know. Part of the studio experience is experimenting with adding extra things, and it always helps to experiment with what’s on offer in the studio.
Where do you stand regarding capturing a raw live performance against studio perfection?
I think I’m somewhere in the middle, actually. Catching the live energy is important. But as for adding extra bits, it can do a lot to the song structure with maybe a third guitar line or a piano bit that wouldn’t feature in their live performances. If a song gets popular, the audience will add those extra bits when they are listen to the live performance.
What’s your opinion on the current scene?
The scene has really changed in the past few years. It’s hard to ignore the wealth of local acts that are now seeing international recognition. A lot of new bands these days are writing really good songs straight off the bat, rather than taking a while to develop. The Delawares have some of the strongest songwriting talent that I have seen.
What is your recommended studio time for bands?
My rough guideline is one day per track. Of course, that doesn’t include mixing and mastering. I don’t like to mix everything on the same day, but over the course of the day, I’m constantly tweaking bits and pieces. At the same time, I’m not going to make a band sit and wait while I’m trying out five different sorts of compressor. Generally, after recording and the band leave, I’d spend about a week or two on the mixing.
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