dewey house production @thedeweyhouse - Tumblr Blog

I really enjoyed engineering and mixing this one. Y'all go subscribe to these guys on YouTube dig on their music.

I don't get over to this page often, but for all you friends following along... I thought you might enjoy this one.

I couldn’t be more proud of my road brotha and how we extracted this gem from the deep mines of blues rock. Every bit of guitar has two hard-panned amps and cabs on it... all with the magic of a hallway mic at @fortyonefifteen screaming down the middle. The @tridentaudio 80b put the stank on those drums, and every one of these bass sounds is a @neumann.berlin TLM 103 on the cab. Even the vocals are a blend of a close mic and three live-captured parallel effects... a close re-amp, a Memory Man, and a fuzzed out (thanks @wardbecksystems M470) distant room mic (room mics courtesy of @soyuzmicrophones) So much stank, so much grit, so much blues emanating from @m1kescott. Y’all go enjoy. #dhp #Repost @m1kescott ・・・ EP is out. Fire it up and crank it. Spotify link in bio (also available on iTunes, all other music platforms). The ‘Honeypots’ era has officially begun. Thanks to all who helped make it happen: @christianharger - Bass @wilsondrums - Drums @billyjustineau - Hammond organ @roboblock - Production @deweyboydjr - Engineering, Mixing @trueeast - Mastering @rickyskaggs - Guitar amps @fortyonefifteen - Studio space @jameslmertz - Photography

Recording this collaboration was a really special treat. Ricky Skaggs requires no introduction, and for him to grace Jake’s record with a brand new instrumental duet is just incredible. The song, “Old Newberry” came to Ricky on the bus when we were playing the @newberryoperahouse, and these two just absolutely throw down on this recording. Knowing how perfect both of these guys like their recordings, I got them to agree to tracking right next to each other... no click, no headphones... just perform until we have the stank and live with the danger of blowing a take. These two played so much good stuff, we could have made multiple strong versions of the song... but the final cut is the stank deluxe. Choosing mics was difficult... mostly because there were so many great ones to choose from. After a long chat with Lee, Ricky’s studio manager/house engineer, I arbitrarily chose Ricky’s 3 most recently acquired mics (+ a stereo room mic)... one of the reissue U67s on Jake, a Schoeps M221 on Ricky, a vintage Telefunken Ela M921 as a mono room, and then a stereo Studer condenser as a stereo room mic. 📷 :: lifted from a video by @musiccitycontentkings #dhp

This is Jeff Picker, and he anchored the rhythm section of Jake's album. Besides being a phenomenal bass player, Jeff has an encyclopedic knowledge of old standards and can play just about anything. You'll oft find him catching up on data-based news in the Economist. To capture Jeff, we set up an RCA 44 and a Neumann M269 on the body of the bass as well as an ELAM 251 up toward the neck. We leaned heavily on the 44 and the 251. The ballistics of the 44 gave the bass a nice thick, round punch, and the 251 had no shortage of definition and a surprising amount of low end. Jeff played with extraordinary taste, and you get to hear a little of his soloing prowess in White House Bounce. 📷 :: @81crowe #dhp

Here’s a look at Justin Moses making sure I’m doing it right. Justin is quite the seasoned player at many, many instruments. We started tracking with the core band of guitar, mandolin, bass, and dobro... with Justin on dobro at what later doubled as the banjo station. The RCA 77 was a dream on dobro, and it played so nicely with the stereo Studer mic on the room. And even though he had his own tracking room, we had him just through the glass from Sierra so she could keep her eye on him 😂 Justin’s playing shown so brightly. His taste is impeccable, and he left all the right places open for Stuart to fill on fiddle the next day. Also of note, I’m in front of the 8 vintage Neve preamps we used on many of the mics. Most of the others went through the Amek 9098 console... which is a unique collaboration between Rupert Neve and Amek (and this one has Ruperts autograph on it)... so those preamps and EQ sounded pretty amazing. 📷 :: @81crowe #dhp

This is Russel Carson, banjo man and photographer extraordinaire. Besides being a Kentucky Thunder brother, he worked closely with Jake to capture mountains of photo and video content of the process of making this record. To capture the elusive tone of the banjo, we opted for a Neumann KM66 lined up with an RCA 77. Deeper in the room was a stereo Studer condenser mic. Much to my surprise, we leaned more on the 66 than the 77. It sounded like a banjo, and the 77 gave some of that depth and thickness from being a little slower to react to the pointed attack. The distant stereo mic gave us the dimension we were looking for to pan the banjo off to a side and not sound too separated from the ensemble... though you better believe he had own his room! Banjos are loud. 📷 :: lifted from a video by @musiccitycontentkings #dhp

Stuart Duncan is a fiddling household name for a reason, and his general unassuming swagger ignited the rest of the band. His enduring enthusiasm and engagement through a long day of recording made us all feel pretty special... the master had come to play. To capture Stuart, we set up a dual mono close mic setup and a more distant stereo mic in the room to give a short sense of space around him... knowing that he’d be panned out to the edge of the band. Up close, we paired the Neumann KM66 with the Old Faithful of fiddle mics, the Coles 4038. The stereo mic was a Royer, though truthfully, I don’t remember the model number. When Stuart first sat down, he grabbed the Coles and pulled it closer than I had planned. Usually, I would object, but since Stuart has been recording since I’ve been on the planet... and Jake hired him to get that Stuart Duncan sound... I deferred to the expert. We ended up mostly using the Coles and the Royer, but I’d be remiss not to say that the real magic wasn’t in the sound we got... it was in the fingers, the mind, and the presence of the man himself. 📷 :: @81crowe #dhp

This is Grant. He’s the tone doctor. Here, he is wondering why he let me talk him into using so many microphones and is already plotting which ones to mute when we mix. Grant mixes monitors for @rickyskaggs, and I mix FOH, so we’re very used to working together with the same sounds at the same show... but getting in the studio together was eye opening. In mixing, he is used to landing a full static mix with energy dictated by the players. I’m used to meddling and retelling the story with embellishments to blast it out to a crowd trying to engage the players’ energy from afar. With a few iterations, we figured our way through scratching both of our mixing itches, and the mixes are far better than I could have done on my own. They have so much tonal integrity, but they also have adventuresome parallel processes to translate the energy, speed, and sense of space that comes from hearing and feeling this music live. 📷 :: @81crowe #dhp

This is the incomparable Sierra Hull hunkered down in her corner of the studio throwing down take after inspired take on Jake Workman’s new album. To capture her tone, we took an approach similar to Jake’s guitar... a pair of 64s, an RCA 77 for the ribbon, and an ELAM 251. Sierra’s touch + the 251 was pure magic. The 64s gave us width, and the 77 gave us extra weight and the ability to go back in time on one of my favorite tracks, “Three’s A Crowd.” At the outset, we knew that Jake and Sierra would be panned closer to the middle as the rhythm section around the bass, hence only using close mics and keeping the stereo image tight. It’s also worth noting that on the other side of the foam wall in the left of the picture is Jake’s recording station. Jeff was triangulated across the room on bass, and the use of foam and polar pattern rejection afforded us the ability to mix and match takes if we wanted. Even so, most of the tracking on this album was live, and a fair bit of it was without a click track. And going off the grid forced us in all the best ways to commit to real performances we liked, embrace happy accidents, and punch any problems on the spot. 📷 :: @81crowe #dhp

Hi 👋🏼 I’m Dewey, and my Kentucky Thunder buddy and road roomie Jake Workman let me help him produce his record, Landmark (releasing 11/22)... and I couldn’t be more proud of it. Over the months leading up to recording, Jake graciously let me hear demos he had made of the songs (which were intimidatingly good, by the way). I took notes, we kicked around ideas, and over time developed a vision for the project and built a recording approach to fit. Jake made charts and preliminary arrangements, and in a hotel room in Virginia Beach, I chopped up his demos to fit the arrangements and felt through how the assembled songs would move. With electricity in our veins, we dug deep into the narratives, sweetened the musical handoffs, and implemented as much Skaggs arrangement genius as we’ve been able to soak in. And then came rehearsal. A living room of some of the best musicians I’ve ever known... working hard, teaching each other at half speed, and playing like children without trepidation. It was so beautiful. 📷 :: @81crowe #dhp

@lateralblueband made this lovely, lovely Christmas record... gathered in a former living room where at least 4 families celebrated Christmas from 1924-2002. There’s some serious love and magic in this project... and I know it’s early... but put this one in the queue for trimming the tree this year. I’m grateful to have played a small part... @ericuplinger did the sonic heavy lifting and I just made sure he had what he needed. Enjoy! #dhp

Hebrews by @psallosmusic (composed by Cody Curtis) was honored this week as one of the top 25 Christian albums of the decade by @thegospelcoalition. I’m so pleased to have been involved on this project. I know it worked on me more than I worked on it. If you, like me, have long been disenchanted with the Christian music industry, enjoy the records on this list. They’re a breath of fresh air. #dhp

Congrats to Salti Ray on the new release! Once a year, I get the opportunity to visit my alma mater @clemsonuniversity to work with their audio students on a recording project in the school’s studio. We find a local band and work with them over the course of four days... in essence, bringing a short term internship with me to campus. This Spring, I had the pleasure of working with these guys, and here’s what we made. #dhp

In non-bluegrass related news, I’m so proud that my collaboration with @arrowandolive found itself on The Good Witch. Working with @kate_carlson and @michaelmceach is a dream.❤️ #dhp

@intlbluegrass, thanks for the “Sound Engineer of the Year” nomination nod. These guys are the real source of the good sounds and energy, and it’s a joy to deliver their passion and enthusiasm through this speakers night after night. ••••• Also, sorry @mikefiddle and @81crowe, your breaks were great on both ends of this clip, but that one minute insta-vid cap cutcha right out. ••••••• And if you’re curious about the rest of this video, it’s from our Romp 2018 performance and can be found on YouTube. After a harrowingly tight changeover, we hit go with my board mix+crowd mics going straight to broadcast 😬. Ricky’s “howdy folks” was the first I had heard of the PA, but the boys brought the goods from “How Mountain” to “Rawhide”... and we were daring, dangerous, and unafraid together... and the energy was palpable. #livemusic #dhp #rickyskaggs #ibma

So glad @81crowe stopped by and captured a bit of the studio side of things this morning. @grant_hartford and I have been knee deep in mixing @jwork11’s fine, fine playing. #dhp #mixing

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