Falcar Studio Report, Part One

Originally posted on my bandsite Falcar.net. Click here to view the original article.

Greetings! Our new single is getting polished right now and we’re about to decide how and when to launch it to the outer space and change the history of metal. There is still a lot of work to be done, time is flying like mad and few weeks have passed since the recording session. Here’s the story of how it all went in the studio.


As usual, it all started with a pretty tense situation; the studio we had booked before let us down exactly ten days before the planned recording. There was an excuse like there was no sound guy to take care of us or something like that and we were offered another session in the future. It would have been an easy task to give up and obey, but Marty felt betrayed and went berserk instantly.

It was a totally ridiculous plan to make call to every single plausible studio and ask whether they had available sessions for next weekend, but it worked like a charm. We had three studios on the way by end of the following day and Soundyard studio was the choice number one. Good gear, location fairly close to Prague, fair prices and a guy named Štěpán, who Marty knew before and turned out to be the co-owner of the studio. We stroke a bargain in a minute and were really looking forward for our very first studio session.

Late for the Funeral

This was it, the Day of the Judgement, our moment in the sun, the D-Day. We had waited for so long…and yet we were able to arrive late to our very first studio session. When we left the rehearsal room, the delay appeared to be more than an hour, therefore we hit the gas and occasionally didn’t pay much attention to the speeding limit. We arrived fifteen minutes late. Everything in the studio was ready, the guys were cool and we all had a good feeling about it. Our new home for the weekend had been introduced to us while we were getting familiar with the equipment, Roman started with the construction of his siege equipment.


Drums Ho!

The construction of the drum set took quite a bit of a time. The original plan was to record one song every day, but when we saw how difficult it was to wire every piece of Roman’s gear, we decided to record one instrument at a time and it did pay off. Our recording engineer Kryštof turned to be a drummer as well, therefore they both fine-tuned every single detail of the drum sound. The monitoring system was hooked up with Dave playing along to the song from the control room – those two are inseparable. The recording started…and was finished in less than half an hour. Each song took no more than two or three takes. Roman just did his best, packed his gear and was free for the rest of the weekend. 

You Shall not Bass

Few minutes later, Dave was sitting comfortably in the control room, ready to rock. But he had to wait for nearly two more hours, because…his bass was humming and we didn’t know where it came from. We tried everything – different sound card slot, different cable, different amp, we even tried different bass – but it just kept humming. The strange thing was, that when anyone else had touched the bass, there was no hum. We assumed it must have been something with Dave. Perhaps he was so metal that his body corrupted the electrical field or something. We were eventually able to set all the elements to the point where the hum almost completely disappeared and the session was free to proceed. Dave aced it the same way as Roman did before – two takes and the thing was done. Unbelievable.

Screaming Eagles

Quick setup and the guitars were almost ready. This time the recording was not as fast, as Marty wanted to try his new axe first. After few attempts, he stuck to his good old guitar and finally began recording. It took a couple of tries to get all the lines recorded a few more to get the solo right. Actually, there was one unplanned mistake played during the last take and Roman liked it so much he eventually persuaded all of us that it sounded great and it should have been used on the actual single. For Inn of the Last Home, the acoustic guitar was required and we took it the most acoustic way possible – only condenser mics – no pickups whatsoever. We had an electro-acoustic guitar as a backup but made no use of it.


Halfway to Hell

Patrik’s guitar parts were the last tracks to be recorded on the first day and we all knew from the beginning that we wouldn’t be able to finish it until the end of the session. After some takes, we were able to record all the Metal Crusade lines and the majority of rhythm parts for Inn of the Last Home. The solos however had to wait until Sunday. But he was both prepared and determined. And metal.

Okay, that’s all for the first day. We left everything where it was and were heading home to enjoy a short slumber. What happened next? Wait for the second part of the Falcar Studio Report!