French The Album

This was our first attempt at recording ourselves in the "new" digital domain. In our Brooklyn basement rehearsal space we made several attempts over the period of at least a year, in fact this album was probably started in 1999. We used the microphone pre-amps from my trusty 4-track cassette recorder with digital conversion provided by whatever soundcard happened to be in my PC. The best mics we had were a couple of sm57's with the rest being, well..... I don't even know the names of these now long-discarded monstrosities (actually one was a "Sam Ash" mic that came free with a bag of 10 XLR cables). Needless to say, trying to "fix it in the mix" proved to be quite difficult and when I opened the files recently to re-mix the album on proper equipment I was appalled to find all the plug-ins crap I'd tortured the mix with. I put all the tracks into ProTools (we'd originally recorded it with Cubase) and removed all the plug-ins and listened the tracks relatively dry. It didn't sound so bad! Such is the way you hear the album today, with minimal processing.

FRENCH: The Band, The Album

1) ANAXARETE 2) NARCOMANIA 3) BUDAPEST RISING 4) BORN TO SIN 5) GIRLFRIEND 6) MOTORCYCLE GUY 7) MARLA 8) RACHEL'S SLEEPING 9) WE HATE MTV 10) SHY LITTLE KITTEN 11) IDEALLY AGONY

		Ian James: Vocals, Guitar, Genius Andrew Bordwin: Drums, Advice Maria Ocanto: Bass, Vocals, Sass Lorna Pomeroy: Guitar, Sanity

All Songs Written and Performed by FRENCH © 2002 Faith-Based Music


Ah. the good old days....
This was our first attempt at recording ourselves in the "new" digital domain. In our Brooklyn basement rehearsal space we made several attempts over the period of at least a year, in fact this album was probably started in 1999. We used the microphone pre-amps from my trusty 4-track cassette recorder with digital conversion provided by whatever soundcard happened to be in my PC. The best mics we had were a couple of sm57's with the rest being, well..... I don't even know the names of these now long-discarded monstrosities (actually one was a "Sam Ash" mic that came free with a bag of 10 XLR cables). Needless to say, trying to "fix it in the mix" proved to be quite difficult and when I opened the files recently to re-mix the album on proper equipment I was appalled to find all the plug-ins crap I'd tortured the mix with. I put all the tracks into ProTools (we'd originally recorded it with Cubase) and removed all the plug-ins and listened the tracks relatively dry. It didn't sound so bad! Such is the way you hear the album today, with minimal processing.

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