RECORDING INFORMATION

Changes in recording technology have brought us many challenges in the recording of the Warheads projects over the years. In earlier times, We were dealing mostly with Analog Tape. Although it sounds very nice, Editing was always a problem. Early digital recording equipment had a very harsh and thin digital sound quality. Eventually we have settled on using both Analog and Digital recording mediums - Analog for its sound properties, and Digital for its editing capabilities.

WARHEADS 1989-1994

Most of these Tracks were Recorded "Live" in our first recording room in San Francisco's Mission District.

All of these tracks were recorded on a Tascam TSR8 1/2" Analog Tape Machine. Although somewhat crude in terms of the equipment used, and production value. Many of these tracks represent some bold musical statements and some audio experimentation. We blended elements of structure and improvisation with acoustic and electronic mediums.

Since we only had 8 tracks to work with, Many tracks were Recorded simultanously live in the room. We had to submix tracks together to fit all the musicians and instruments onto 8 tracks. This was usually done to drum tracks. This would allow us some level adjustments of the individual instruments and players within the final mix. All of these tracks were recorded live in 1 room with all kinds of signal bleed on each of the other tracks. Seperation was impossible.

Essential Equipment: Tascam TSR8 Tape Machine, Yamaha mixing console. Sennheiser 441 and 421, AKG C-414, Microphones.

THE WARHEADS

Technological advancements had moved us right into the digital revolution. We moved our studio into a larger space, and had a separate control room to monitor the tracks we were recording. These tracks were primarily recorded on the ADAT system. Although we engineered with an Analog mindset, We were recording the music on a Digital tape machine. We started using tube Pre-Amps and Compressors to warm the signal. We also used plenty of audio experimentation. - psycho-acoustic phase manipulation, tape looping, and extreme compression and equalization. Many of the sounds on these tracks had gone through some sound previous sound manipuation before we ever got our hands on them. We Had A DJ, Synthesist, and early music computer programmers coming down to our studio to lay down tracks. Many of these tracks were piled on top of each other with little regard to what the final songs would sound like. The final mix would decide the final versions of these songs. Usually we would end up with 24 audio tracks on one song, Many of the sounds on these tracks were completly un-related. While the musicians were recording the overdubs, They would be given some basic instructions as to the direction of the piece of music, But would not listen the underlying tracks they were recording onto. The final mixing was a challenge, As we could not see the tracks on a computer screen. Nor did we have mix automation. We had to mix entirely by "feel".

Essential Equipment: Lexicon Jam-Man, Lexicon PCM-80 and PCM-90 Multi Effect Units. Alesis ADAT, Manley Tube Pre-Amps. Demeter VTCL Tube Compressor. Drawmer 1960 Tube Compressor. TC Electronics Parametric Equalizer. Neumann U-87, Electro Voice RE-20, AKG C-414 Microphones.

Warheads - "KILLED IN ACTION"

After many years of experimentation, we set out with a goal of having more "Song" related material. The songs on this disc represent over 5 years of evolution until the final versions were decided upon. This disc was our first to use computer editing. All these tracks were initially recorded on an Otari MTR-90 24 track analog tape machine. in 2002 we transfered these tracks onto a "Pro Tools" system and began editing together various versions of these songs. Eventually we decided "Pro Tools" did not have the sound quality we were looking for. We eventually switched over to a PC using Magix Samplitude software. We used Apogee digital convertors and Re-transfered the original analog tracks to Samplitude and edited the final versions of these songs.

Essential Equipment: Magix Samplitude, Lynx Technology AES-16, Apogee AD16 - DA16, Manley Vari-Mu Compressor, GML 8200 Parametric Equalizer, Telefunken V-72 Preamps.

The Warheads Sextet - "CRASH AND BURN

Recorded entirely on a Roland MC-505 Groovebox. What started out as a experiment with a new piece of equipment. We ended up deciding that the original tracks in the simplest form worked the best.

Essential Equipment: Roland MC-505 Groovbox.

FUNK N GANDHI

An entirely new approach had us blending Indian scales, Theories and Harmonies with Funk and Dub backbeats. These tracks started out with a drum machine, electric bass and an old Rhoads keyboard. All other tracks were layered as overdubs. Deepak Ram's - Bansuri (wooden flutes) were recorded with a Manley tube microphone and a Focusrite Red 7 Pre-Amp.

Essential Equipment: Hammond B3 Organ with Leslie 122 cabinet. Rhoads Electric Piano. Fender Deluxe Reverb Guitar Amplifier. Focusrite Red 7 and ISA 110 Pre-Amps. Manley Gold Reference Tube Microphone. Neumann U-87, KM-184, and TLM-193 Microphones. Magix Samplitude.

BANDIT QUEEN

Our first recording with Vocals. The basic idea was laid back Chill-Out Grooves with elements of Jazz, R & B, Soul, and Dub. Originally tracked on the Otari MTR-90 analog machine, These tracks took on new life after we transfered them into Samplitude. Using cut and paste, and looping, We were able to transform these songs into thier current form. Grace's vocals were recorded with an old Neumann U-47 tube microphone and a GML Pre-Amp.

Essential Equipment: Heritage 576 Jazz Guitar, Fender Deluxe Reverb Guitar Amplifier. Hammond B3 Organ with Leslie 122 Cabinet, Rhoads Electric Piano, Amek 9098 Pre-Amp EQ's. Manley Massive Passive EQ's. Empirical Labs Distressor and Fatso compressors. API 312 Pre-Amps. Neve 33115 Pre-Amps. GML Pre-Amps. Neumann U-47 vintage tube microphone.

BACKFROMTOMORROW

Recorded at THE TRENCHES in San Francisco.
Composed, Performed, and Mastered using Reason 4.0

DRIFT WITH IT

Recorded at The TRENCHES in San Francisco
Assembled, Recorded and Mastered using Reason 4.0

FUNKTHEPOWER

Recorded at The TRENCHES in San Francisco
Assembled, Recorded and Mastered using Reason 4.0

NIHON/NOIR

Recorded at The TRENCHES in San Francisco
Recorded and Mastered using Reason 4.0

Ron K 07-14-08