So I’m known in some music circles around the planet for playing all of the instruments on my recordings. Singing,Songwriting, Performing all kinds of things, making strange sounds,
Producing and so on.
Ego,,sure I’ve got enough to overthrow a government and two religions before lunch time.
But it didn’t exactly start that way.
Most of this came about from frustration.
I thought there would be a band and producer and all that stuff.
Maybe the bands weren’t on the same page. Or even in the same room.
Maybe the engineers thought it should sound more like what everyone else sounds like.
Everything kept pointing me toward doing it myself. So rather than pick fights with imaginary
hands of fate. The desire was so great within me,
that the only available answer was
“Ok, do the best you can with whatever you have”
Which brings us to releases number 10 and 11.
The Recording of,
“Whack Mythology” and “Basement Glitter”
It all started out in a twisted state of learning a new recording method Logic Pro,
and writing a bunch of new songs.
The memory of a room tangled up with cables is still right up front for me.
There were numerous iterations of songs and about two other entire albums worth of experiments that remain in the vaults, well ,,,back up drives.
The deal was how was I going to get this to sound the way I wanted.
Recording acoustic instruments in a small space is kind of like ice fishing at night,
well not really because ice fishing at night sounds like a terrible way to spend time.
A non treated room can be gotten around by strategically by
placing things that randomize the sounds that are darting around.
The drums were an enormous set of Birch Ludwigs,
recorded with 3 mic’s and presented in Mono.
Yeah that’s right, you heard me, mono.
No this was not exactly the Glyn Johns method of drum recording,
but a variation on that theme.
Piano was an 80 year old upright that’s in surprisingly good shape.
That was a shure 57 low and on the back of the soundboard.
Guitars, mostly Telecaster, some Stratocaster, and whatever else was around,
Guitar amps Fender and Vox, lots of direct recording via
Sans amp,Pod, Zoom, and Logic Amp designer.
Acoustic guitars Epiphone Texan, Avarez dreadnought, Fender Malibu
all miced up with AKG 414, Shure 57, and MXL V57
All vocals recorded with either an AKG 414, a shure 57 or 58.
All bass direct , virtual amps via Logic Amp designer.
Synthesizers from Roland, Prophet, Logic Pro.
On to the lineup
These are performances, not a programmed record,
the only people on these recordings are me and my sons.
The full length album
Graham Nasson Drums all tracks, Rhythm Guitar on “Books About it’
Colin Nasson Rhythm Guitar “Books about it” Percussion
on “All I seem to hear” ‘Books About it’
Arthur Nasson, Lead and Backing Vocals, Piano, Synthesizers, Organ, Guitars, Bass,Percussion,
spooky treated sounds.
Graham Nasson Drums all tracks
Arthur Nasson, Lead and Backing Vocals, Guitars, Bass, Percussion
All songs tracked and mixed at Scabbey Road [my home studio]
Engineered and Produced Arthur Nasson
Mastered at Peerless Mastering Boston, Ma.
Jeff Lipton and Maria Rice