Sugarbeat - Blue Flux 2001


The Steely Feel Family

Though now outdated, we've decided to leave this page on the server, as it might be interesting to those who'd like to find out more about the making of our 2002 album 'Sugarbeat'.
 

A State of Flux

Following a move from Britain to Germany in the latter part of 2000, Jill and I had our heads spinning with plenty other things to not think about music for a while. The move was complicated enough, and dismantling our Bigger Hog studio in South Wales was quite a heartbraker.

Packing Up
Bigger Hog Studio boxed and ready to go

Our new home is not ideal for setting up a new studio, so we figured we'd wait until we move to bigger premises. That belief lasted about 4 weeks, when I picked up a guitar again, after completing most of the donkey work of putting up furniture and general admin aggro. Deprivation had charged my inspirational batteries to 110%, and as I was playing I realised that I must find a way again to record what was falling out of my guitar.
 

The Steely Feel

The need for a compromise gave me the idea. Space was the limiting factor - keyboards need lots of it. So I decided to unpack and install only essential recording gear - hard disc recorder, signal processing equipment, and microphones. No sampler, no synths, no sequencer or keyboards. Guitars only - the steely feel!

My only concession was to buy an electric bass guitar, an excellent choice, as it turned out. I hadn't played bass before, but it seems to come natural to any guitarist, and it's FUN! I never could have guessed how much more alive it sounds compared to even the best bass guitar samples. With relatively little practise all these bass lines flitting around in my head for years soon became organic reality.

Sugarbeat
 
Amazing how reduced options focus the mind beautifully, and how necessity really is the mother of invention. Bass, acoustic 6 & 12 string, E-guitar, combined with pretty advanced signal processing, and - hey presto - the tracks just came rolling in. No more faffing around with synth programming, browsing through endless sample libraries for a perfect bass line (heh heh!), and step-time editing. There's not even a single Midi cable in sight!

The spartanic setup also helps to promote high recording quality, through shorter signal paths, and generally less equipment plugged into the mixer. Although I still master to DAT, post processing on the PC now starts with digital input, and further benefits from some fancy DX plugins for Cool Edit 2000.

Recording for the new album "Sugarbeat" was completed in October 2001, while post processing and final mastering took another 3 weeks. Time well spent - only when all tracks are known can one begin to tweak and nudge the overall sound to create a homogenous sounding album. 

Guitar's the star - no holds barred. Judging by most listeners comments, it's the guitar that most defines the Blue Flux sound, so I hope the new album will please them as much as me. 
Because the aim of using only stringed instruments (plus a little percussion) was clear from the outset, "Sugarbeat" has a very strong feel of consistency to it. I'm very happy with the overall organic feel of the guitar sound, and I have tried to leave enough space in each composition to let the strings breathe from time to time.

Some of the effect processing I had to use to give me the timbre I was looking for have yielded sounds that even a synthesizer or sampler would have struggled to produce. When you listen to some songs on the "Sugarbeat", you'll realise why I used the remark Brian May used to proudly stick on the early Queen albums - No synthesizers used on this album!
 
 

To listen to SugarbeatClick Here

 
 
 
 
 

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Copyright Enthalpy Publishing 2004