I always kept my eye on Dave's studio, just to see if he was doing anything and who would be recording there. So I drive by and in the window it said, "For Rent. That could be a good break for me. It was almost a fully built studio and it was such a perfect thing — and I had always liked Dave — he was a friend of ours. No, it's still there. We haven't moved it yet. We're going to build a new place because Presto is in a flood plain and they're tearing out all of the street that I'm on and making a little creek that goes through.
That probably won't happen for another twenty years. They've been talking about it for twenty years now, but it really became serious about three years ago where they said, "You're going to have to be out in six months" and we were like, "What?
It's been good. The rooms sound all right, but there are some problems with them. They weren't built exactly to the specs that they were supposed to be. So, I bought this house in Omaha and behind it is a full size indoor basketball court — so it's five thousand square feet and the ceilings are thirty-something feet.
Connected to that is an indoor swimming pool. It's all one big, L-shaped building — the guy must've liked to recreate. Connected to that is a four bedroom guesthouse. When I saw this listed, I thought, "That sounds ideal. You know, you could skateboard in it. It's kind of an L- shaped pool, though. I don't know if that's good or bad. The rest of this article is only available with a Basic or Premium subscription, or by purchasing back issue For an upcoming year's free subscription, and our current issue on PDF So am I!
See all related lists ». Do you have a demo reel? Add it to your IMDb page. Find out more at IMDbPro ». How Much Have You Seen? How much of Mike Mogis's work have you seen? Known For. Stuck in Love. The Fault in Our Stars Composer. Neighbors 2: Sorority Rising Soundtrack. The Stand Composer. Show all Hide all Show by Oberst was still in high school at the time, so sessions took place in part at the family home in Omaha. They worked on a Fostex R8 reel-to-reel during those sessions, getting basic tracks in order over a long series of weekends.
Mogis was by then well into his 20s and had been recording music since the age of Play the tape, play something live and record both to another tape deck. I got into backwards things, speeding things up, slowing things down. By 14 he had his first Tascam 4-Track. It sounds kind of contrived, because it is, but we wanted to give songs an environment, a place.
Someone starts the engine: The windshield wipers clack back and forth while Lewis directs Sennett on their path and ambient guitar sounds begin to fill the sound spectrum. We can hear oncoming cars in the distance and we move along with the travelers. Slowly, an acoustic guitar breaks in. Is this someone practicing in their bedroom? A hopeful songwriting trying to find the right place to start a song? I was taking the lead on bringing in brass and stuff.
That was all kind of experimental too because we just found our friends and asked them to help out. But we were also trying to make the songs personal and emotional. The remastering process, which Oberst was insistent upon, reminded Mogis that some of the early Bright Eyes records were filled with quirks. A typical producer or engineer would write notes about the tune, its length, the use of noise reduction, what level it was recorded at. I just wrote funny, snarky comments about Cursive songs.
At the bottom was a comment about a Bright Eyes song. He phoned his wife to see if it was somewhere in his personal archives. Another early Bright Eyes record presented similar challenges.
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