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Tiri-Bonni Session (November 2016)

Posted 2/26/2017

By Bonning


Yeah! After several months of hard work, we finally get to the moment that we immortalize the fruits of our efforts and hard work. I must admit that a lot of things happened since september 10th 2016. Not only was it my birthday, but that was also the day that Killing Unit was born and started under this moniker. We didn’t start with nothing. Ted had already started working on the project 2 years ago. Marty and me joined the band while most of the songs were already composed. We only added our personal touch to the whole thing. After a few months of rehearsing, we decided to record during the christmas holidays directly in our rehearsal studio in Montréal. We adopted the DIY approach. Me and Ted work as engineers and press on the buttons and only use our OWN recording material. The only investment that we put into the recording is TIME. Nothing complicated. A relatively not-so-clean sound but nonetheless well defined.

During the month of November, i started conducting some recording tests on the drums at the Tiri-Bonni Studio. The goal was to validate the workflow, the material and the software. At the beginning, Another goal was to accomplish a decent drum recording without any expensive software or plugins.



That’s when i discovered Tracktion 5. absolutely free, this software is perfect for recording with my laptop. The interface is not so great for mixing but, we have other plans and we will talk about that later.


I had to my disposal a kit of 7 microphones Pyle, 1 shure PG57 and 1 Nady DM80.


The microphones were plugged in a Tascam US-2000 USB interface. The interface possesses 8 preamps and a total de 16 inputs. So for the setup of the drum, i was limited to 8 microphones. Since i wanted to do some tests on different configurations for the Kick and the snare, i preferred to only use 1 tom and 1 floor. With Killing Unit, i normally play with 2 of each.




So here is the configuration of the microphones used for the first tests at Tiri-Bonni Studio :





Overhead Pyle PDKM7-A 99cm from center on each side OUI
Snare Top Shure PG-57 Tripod  
Snare Bottom Pyle PDKM7-B Snaped on the rim  
Kick Pyle PDKM7-C Inside in front of the Beater  
Kick Nady DM80 Front of the resonnance head  
Tom Pyle PDKM7-B Snaped on the rim  
Floor Pyle PDKM7-B Snaped on the rim  


I started my recording tests with Brain Eating Goblins. Ted previously recorded all of the guitar,bass, vocals and backvocals tracks at Wasteland studio. The 2 guitar and the bass tracks were recorded in Cakewalk Sonar by plugging them in a Boss GT3 module effect that was directly plugged into the computer. The vocals were recorded the same way. He made a rendering of each individual tracks and sent them by Dropbox.


A word from Ted


The Brain eating goblins tracks are in fact the tracks of our previous band’s album.This album was entirely recorded at Wasteland studios (my living room actually). Our ex-bassist and myself have done everything, the  guitars, bass and vocals, in a Boss GT3 plugged directly in my computer.  The drum tracks were programmed, and everything mixed in the Cakewalk 9.0 software, a old program that i  can work easily, that saves me a lot of headaches.

As for Shit 22, better known now as Hammer Protocol, funny fact, the main guitar riff was my shower!!!  No, i don’t take showers with my guitar, but my brain does not understand that i cannot have a guitar in my hands 24/24. As soon as i was out of the shower, riff in my head, i plugged the GT3 in my computer, and 2 hours later, the music was recorded.The song remained instrumental for some time, but the events that followed inspired the text by themselves.


Back to Bonning


I assembled everything in Tracktion 5 to start the tests. Everything was synchronized with a clic track, so it was simple. The results obtained were more than satisfying in view of the objectives that we have fixed for ourselves.


As a second test, to validate everything, i started to work on the drums for Shit 22. Yes,Ted has a tendency to name his compositions “SHIT” something before a title and a text is provided for the song. Shit 22 later became Hammer Protocol.


Again, the result is totally acceptable considering our DIY approach and our more than limited resources. The recording of the guitars and bass present no problems at all since if the recording conditions are not perfect, we can always rely on the amplifier simulators of the module GT3.


That was out of question that we would record at our rehearsal space. The room’s walls had no soundproofing at all and their only use was not to see the other bands next door rehearse. That is why we decided to record the drums at Tiri-Bonni Studio and the guitars at Wasteland Studio. For the voice, i had access to a post production studio.


So everything was ready for the recording of the 7 tracks of the album. Everybody was really excited about the recording. The drum completely ready, microphones in place, calibrated sound, ready to begin, but, a succession of pleasing events contributed to us changing completely our approach, for the better.


to be continued…

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