Sam Beer

An intuitive and passionate lover of music, Sam's guitar, keyboard and vocal skills are the studio's secret weapon. A founding member of The Treetop Flyers, he has recorded and toured extensively around the world. In 2011 he joined forces with Simon and Giles when the studio moved into it's Cable St premises. 

To contact Sam regarding recording and production get in touch via email at:

sam@soupstudio.co.uk

Here is a selection of his recent productions and a few words from Sam about them:

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The job of recording Beans on Toast was about being direct as possible. We knew we had to be in a position to capture the first take of each track, and a lot of those first takes ended up on the record.  Something that no-one talks about is studio fatigue, and the need to keep things interesting and fresh. Where possible, I like to give the artists the freedom and opportunity to pounce on an idea and roll with it.

I recorded this track at home on my beloved Tascam 388 tape machine. I decided against a full live setup in favour of a two step approach which allowed us to sing as a group on top of the pre-tracked acoustic guitars, thus creating a high fidelity result with the best of old and new sensibilities. Whenever a song first hits the microphone, there's always the possibility that you are hearing it's greatest incarnation.

What we were trying to do with 'Dance Through the Night' was to capture the energy of our live performances. We structured the live room so that everyone enjoyed clear sight-lines and a good headphone mix. Were able to play off each other and enjoy the performance 

The Savannah's are a new band in their early stages taking their first steps. They weren't in a position to embark on a full scale studio session so over the course of two days we had a lot of fun building the songs from the ground up layer by layer. The choice of instruments really made this recording come alive especially my 1932 Epiphone Olympic, wonky piano and my Dad's old Martin acoustic

Before embarking on the recording sessions for this album, I sat down with Karl and, in just a few hours, recorded rough versions of all the songs he had written for it. In quick-fire mode, we threw guitars at each other, swapped amps, and played around with loads of instruments, drawing up a list of which sounds we felt would sit well and be relevant on each track. This was really fun and exciting, and meant that by the time of the recording session, we didn't feel daunted by the amount of tracking decisions that lay ahead. One sound that shines through for me, is the quacky guitar sound obtained with my specially modified Gibson Les Paul. When in the middle position, the two pickups are rendered out of phase. This is a direct copy of the configuration on Peter Green's Les Paul, which happened when the pickup was inserted into the guitar backwards in error. It's also a sound reminiscent of many great soul and blues recordings, and I believe it's attention to these details that can make a recording truly special.