As a recording artist I compose and write my own songs, which I then record, mix and distribute on the internet. Through my stage experience and playing and recording in various music bands, I have a very concrete idea of ​​how my finished song should sound. Already when arranging the individual parts of the songs, I have the sound of the entire band in my head. I play or program the individual instruments myself. So, in the "Sound on Sound" recording process, I finally create a playback on which I record the vocals and the backround vocals. My personal goal is to make the finished song sound as authentic as if it had been recorded by an entire band of individual musicians.

Even before I started with the recordings for "The Blue Call", I knew that I wanted to create the sound of the early sixties. For that I had to sit down and research, how the studios at that time recorded and mixed the sound.

A good source were the early Beatles recordings at Abbey Road Studios in London. Fortunately, you can find a lot about the these recordings on the Internet. 

Back than the studios had just 2 or 4 track tape machines for the recording and not the digital processing options like we have today. So you had to place the existing microphones perfectly in the room, because the band were recorded live at the same time.

If a musician made a mistake, the whole song had to be recorded again. After the backing tracks were recorded, overdubs of the vocals, the backround vocals and the guitars could be recorded. 

During the recording of "The Blue Call" I tried to adapt to the limited possibilities of that time. Here I have made the requirement, not to exceed the number of a maximum of 8 tracks per song. So only one track for the drums, the bass, the rhythm guitar and the lead guitar. I recorded the vocals twice and then mixed them together in one track. That's exactly what I did with the backround vocals.

When recording the individual tracks, I also tried to record them in one take. This is to make the song not too perfect and overproduced but sound authentic.



To create the right vintage sound, I recorded the guitars as clean as possible. As a guitar amp, I used a Vox AC30 and a Fender Twin Reverb. On my guitars I put flatwound strings they played back in the 60s. As a rhythm guitar I used a Höfner 459 with mini humbuckers and as a lead guitar a modified Flying V with a twangy TV Jones bridge pickup.



As bass, I used a Höfner Cavern Club shortscale bass. The bass also has flatwound strings on it. As a bass amp, I have used an Ampeg preamp, where I've sent the signal additionally through a tube preamp.



To create an authentic drum sound, I used Toontrack. Toontrack offers a beautiful vintage Drum Set in the style of the legendary Ludwig Keystone. I programmed the midi drum beats and recorded them with only four microphones: Room, Overhead, Snaredrum, Bassdrum.



For the vocal recordings, I used a Shure Super 55 Deluxe Elvis microphone. Actually, it is a live mic for the stage, but it also has a very nice and musical sound when recording in the studio. I sent the signal from the microphone through a tube preamp.



I've already used one effect on the recording: Keeley's Abbey Chamber Verb. It' a recreation of the famous echo chamber at Abbey Road Studios. It's a soft and warm vintage reverb I used both for guitars and vocals. It also has the electronic filters they used in the studio.