EP. 12 Johnny Bregar & Johnny Sangster in... the Johnny & Johnny Show

09/24/21 • 110 min

The Truth About Recording & Mixing

Show Notes EP 12 Johnny Bregar

Welcome back to The Truth about Recording & Mixing

In this episode we speak to Johnny Bregar about his recording studio “The Brickyard” on Bainbridge Island.

01:00 Listener question about Steve Turner’s guitar setup on the recording of The Warning.

06:00 Listener question about podcast aggregating.

09:30 Welcome Johnny Bregar

11:00 Early days - getting into recording. “Buy Osmonics”.

15:00 Making the switch to full time recording.

17:00 The local “regular” studio owner. Who’s coming in. The job of the producer.

24:30 Getting it wrong, making it right.

28:40 Producing, capturing someone else’s vision while being the one stop shop.

35:45 How do you know when you’re the right or wrong person for the job.

43:30 More on the Brickyard Studio. The “no control room” layout.

51:00 A dead space, adding ambiance using UAD’s Ocean Way processing and other reverbs to compensate.

55:00 Getting performances.

01:05:00 Changing chords, changing lyrics with the goal of improving the song as a producer.

01:10:40 Listener question about home recording and capturing acoustic guitars.

01:20:00 What about recording books?

01:25:00 Go to acoustic guitars signal path.

01:31:00 How about micing up your upright piano?

01:38:00 New discoveries in sound, boundary mics, tuning pianos and other studio ownership joys. DUST!

The Truth about Recording And Mixing is a monthly or thereabouts podcast dedicated to the art and science of recording music and producing records. We have the support of the Fretboard Journal and our listeners. Please send us questions to [email protected] and also make sure to follow our instagram @recordingpodcast

www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com

Show Notes EP 12 Johnny Bregar

Welcome back to The Truth about Recording & Mixing

In this episode we speak to Johnny Bregar about his recording studio “The Brickyard” on Bainbridge Island.

01:00 Listener question about Steve Turner’s guitar setup on the recording of The Warning.

06:00 Listener question about podcast aggregating.

09:30 Welcome Johnny Bregar

11:00 Early days - getting into recording. “Buy Osmonics”.

15:00 Making the switch to full time recording.

17:00 The local “regular” studio owner. Who’s coming in. The job of the producer.

24:30 Getting it wrong, making it right.

28:40 Producing, capturing someone else’s vision while being the one stop shop.

35:45 How do you know when you’re the right or wrong person for the job.

43:30 More on the Brickyard Studio. The “no control room” layout.

51:00 A dead space, adding ambiance using UAD’s Ocean Way processing and other reverbs to compensate.

55:00 Getting performances.

01:05:00 Changing chords, changing lyrics with the goal of improving the song as a producer.

01:10:40 Listener question about home recording and capturing acoustic guitars.

01:20:00 What about recording books?

01:25:00 Go to acoustic guitars signal path.

01:31:00 How about micing up your upright piano?

01:38:00 New discoveries in sound, boundary mics, tuning pianos and other studio ownership joys. DUST!

www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com

Previous Episode

Ep. 11: Phil Ek

Welcome back to the Truth About Recording & Mixing Podcast. This week we have an in depth conversation with producer engineer Phil Ek. Phil is known for his work with Built To Spill, The Shins, Fleet Foxes, Father John Misty among many many others. Also on this episode Johnny Sangster gives a quick demo on mic'ing up an upright piano.

0:45 Listener comment on Timothy Herzog - recommendations on DIY electronics books.03:15 - Listener comment from Liam and suggestion to do an episode on the day to day of running a studio.06:20 - Audio example on different mic techniques for mic’ing upright pianos16:40 - Check out pics of these mic techniques on Instagram - @recordingpodcast - please send us your questions to [email protected] 16:50 - Welcome Phil Ek! New project - like being a first time dad & a new record with SYML.20:30 - Some thoughts on indie artists and how to navigate the current state of music24:10 - Phil’s path coming up in recording. Going to the Art Institute, hating it and eventually landing an internship with Jack Endino. How important being able to watch Jack work was. Eventually being able to run sessions at Word Of Mouth.37:20 - Phil’s relationship with Sub Pop. Also - getting to work with the Muffs!41:15 - Built To Spill and the doors that opened.50:20 - Echo Mountain, Sunset Sound, Magic Shop and other great studios around the country and in Seattle. Plus some thoughts on the wonderful Seattle studio community.57:30 - Thoughts on interning and having an assistant engineer.1:04:30 - The importance of working in a pro studio with a producer.1:08:20 - Listener question about remote collaborations during the pandemic.1:15:40 - Listener question on mic’ing small bodied acoustic guitars. Thoughts on capturing the space with acoustic, electric guitars & vocals. 1:21:30 - Committing and capturing takes. How many takes Comping.01:25:20 - Recording singers and singers with acoustic guitars! 01:32:00 - Fleet Foxes!01:38:00 - Do what you like.

The Truth About Recording & Mixing is a podcast produced by the Fretboard Journal magazine, loosely based on our Truth About Vintage Amps Q&A podcast.

www.johnnysangster.com www.cracklepopstudio.com www.fretboardjournal.com www.instagram.com/recordingpodcast/

Next Episode

EP 13 Bill Cheney of Spectra1964

Welcome back to the Truth About Recording and Mixing brought to you by the Fretboard Journal from Crackle & Pop! studio in Ballard WA. This episode we speak to Bill Cheney of Spectra 1964 about the history of the company and the classic circuits that are still on the cutting edge today.

1:10 - listener comment from Josh Block regarding episode 11 with Timothy Herzog.3:05 - listener comments from Bob Knetzger4:45 - what is flanging? Johnny gives a demo and a modern technique to achieve that classic sound16:45 - Welcome Bill Cheney, Bill talks about his upbringing and how he got into audio. 20:30 - Meeting William Dilley and eventually going to work for Spectra29:30 - Scully 100 - the Spectra tape machine33:00 - 70s era when Spectra is building sound reinforcement when Bill first started working there.36:30 - William Dilleys story and his love of the flying.41:30 - the gear manufacturing world of the early 60s and how Spectra got into the market. The 101 amplifier and who was building studios using Spectra parts.46:30 - William Dilley designing the Minutemen missile launch project. And a side story about William Dilley and Les Paul hanging out. How working on that system informed his knowledge of transistor circuitry. 01:00:00 - the development of the product line through the 60s - the 101A and the 500EQ.1:06:45 - the 610 comp limiter and the reasoning behind the putting the limiter at the front of the circuit.01:14:00 - what other circuits was William Dilley working on in the late 60s?01:19:00 Differences in parts from then and now and where the company is headed now. Through hole technology and current manufacturing. Challenges leading to Spectra using SMD fabrication.01:33:20 - New products coming out now. 01:40:00 - More talk of the 610 compressors! And the book of instructions.

Thank you for listening to the Truth About Recording & Mixing. Please send us your questions - voice memos are great! - to [email protected]