After the first meeting with La Bête Blooms it was clear that I should begin my research by exploring practices used by producers, and practices used on landmark recordings in the aforementioned post.
Firstly I decided to research Steve Albini, famous for his work with grunge artists such as Nirvana and The Pixies.
My research lead me to a soundonsound article (Tingen, 2005) on the producer which can be viewed on the link below;
http://www.soundonsound.com/sos/sep05/articles/albini.htm
It was particularly interesting to discover his view on the engineer/producer-artist relationship and how he feels about putting the artists interests before anything else. He is 'averse' to the role of the record producer and sees his work as 'purely technical, rather than artistic'.
I feel that I will adopt this approach during the process, however I have been informed that two of the tracks that I will be recording for La Bête Blooms are new tracks, I will offer suggestions If I feel certain elements of the tracks don't work or would work particularly well in a different way.
The article features a synopsis of his favourite microphones in different applications, I found this particularly useful when trying to inform my own choices as regards microphone choices in the recording process.
I also decided to research other producers who may inform my practices when recording La Bête Blooms. I decided to take a look at producers who worked with Nirvana on their other records. Nevermind, arguably one of their most commercially successful records was produced by Butch Vig.
I also discovered an article (Buskin, 1997) about Butch Vig and working on Nevermind which can be viewed below
http://www.soundonsound.com/sos/1997_articles/mar97/butchvig.html
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