Loved reading this... can't wait to hear the album. You’ve technically produced all the Car Seat Headrest records out there, except Teens of Denial with Steve Fisk [Tape Op #3]. A lot of times if you track live or something weird happens in the studio, you do end up with tracks that aren’t as perfect and polished as an engineering handbook would want it to be. Those were the two that we ended up doing Teens of Denial at. Is that kind of hard, taking a song that you’ve spent a fair amount of time getting to where you like it there for the album obviously, and then trying to excise parts of it just to get the length down? But actually after we rewrote it, the band was like, “I wish we could just play this version. I mean, the other advantage of being young and having the equipment is that you’re bored pretty easily too. But if you’re laying it down and also you maybe want to play it live, you want to have that option, then you also have to make it in a way where you can sort of change it. Nonetheless, an interview over foot-long subs and Diet Cokes is still an interview. It was just tracking live and then overdubbing from there, but everything had that core of the band performance to it. Just so much of the tools for that come on the computer, and if you’ve got a decent mic, that’s pretty much all you need, and a lot of practice on the program. The band's name is a reference to Toledo's necessity of recording vocals in his car while still living at his parents’ home at the time. It was sort of a slow-growing thing. Studios in Seattle. So Teens of Style was sort of an intro, if you just wanted the basics of where we were coming from, you could listen to that record. In the first record, Teens of Style, was that like a compilation of songs you’d already done that had been on Bandcamp? He got sent the demos, and it was a comfortable fit. I think that we kind of connected right away on what needed to be different from the demos and what it was going to be like. Especially going into Teens of Denial, it was really difficult. I took pictures of his mic setups. Yeah, we had done Teens of Style and it sort of felt like I’d gotten to the point where I couldn’t self-produce anymore, at least the way I was doing it. The regional manager called me and scheduled me for an interview. I wasn’t really looking for a label. I think we both just felt that’s going to be the setup. I’m still just kind of getting the hang of how those tools can be used exactly. First Name Will #31. Everything Indie Music related; from the newest releases and news, to discussion on the history of alternative music. As long as it doesn’t turn into just a mess of cables and pre-programmed parts live, I think we’re all going to stay happy with what’s going on. I kind of wear that on my sleeve. I guess if you know what you’re doing on any program, I think you can get that template. scrolled around the interview, some extremely bad strokes takes in here. We’d just done a couple of cassette runs, one-offs with people who were interested in doing that. We were at Avast! In between each interview I had things to do like drug test and a survey. 3 interviews, first one was with human resources, then the second was with area supervisors. Earlier, I was having to do more of a set-up, to try to get the effect that you can really do pretty easily with Ableton. That was going to kind of be our set up. Yeah. Whatever that idea is, if I can track a guitar part, if I have a beat in mind to go with it, I’ll just quickly open up a MIDI track and drag some drums in there and program it to go along with that. Yeah, they kind of established the model where if you want to make really good records, you basically have to start in the studio. Yeah. It probably helps too to have a drummer who understands that music and has both backgrounds but isn’t going to be like, “I wanted real drums on this part.”. We did that because Matador had sent us this edit that they did which was just incomprehensible to me, just like half of a verse, then the chorus, then the bridge. You go back to it, and you put the work in. I know. What were you tracking the rest of the instruments with? Help this celebrity reach the TOP in all RANKINGS on the Internet! We make the record, and then when it comes time to putting the show together, we really just have to think about what’s in the room, who’s in the lineup at the time. Both Andrew Katz and Will Toledo … Really, we would just go in and mostly do drums in the studio. There are definitely projects where I do go in, and maybe I’m working on someone else’s record, or it’s just a different thing, and it doesn’t take that amount of time, because it’s more just about getting the energy that’s there at the time. I’m kind of writing through all that period, just putting new material together. Especially if radio chooses a longer song, I think what you want is that build. The more votes your celebrities get, the higher their position! That was it for a long time. And yeah, I rewrote a little bit. I got super lucky that I came up in a time where it’s super-cheap to record and a lot of people have that capability already, just from having a computer or whatever’s in the home. Then it’s just problem-solving in the mixing. That was where the struggle came from. I mean, it’s always just, kind of starting from scratch once we start thinking about the live show. It’s definitely just kind of getting into a different mode. If you can add synths it just gives you a lot more to play with, even if you have a limited amount of members. I want it to be something where if someone stumbles upon it and they don’t know the context, they can still get something out of it. That happened with Teens of Denial and it kind of happened with Twin Fantasy too when we re-recorded it in the studio. It was really just kind of intentionally the lowest budget possible, the simplest option possible, and then just screwing with it in the mixing program. “That’s going to be the structure that we’re working off of.” He just did his thing and I mostly tried to track on it. We were working on Pro Tools, which I hadn’t worked on before, so my contributions were maybe a little bit more clumsy and basic than they would have been otherwise. I had already recorded a couple records under a different name, and I was starting Car Seat Headrest just conceptually as sort of a different project; more experimental. ; CRITICAL: Due to the new anti-spam software being utilized by the University of Toledo multiple important AAMC and ERAS emails are being filtered out.You MUST create a Gmail account to use for ERAS in order to not miss important information and interview invitations. Well, it started out in Audacity, which is a free program, and then I got a Mac laptop which had GarageBand on it for free, and then I upgraded to Logic, which is like GarageBand but costs a couple hundred dollars. This article is based on problems I've encountered repeatedly when mixing peoples' home-recorded tracks. It’s just going to be…. Had you reworked songs for that? I want to jump way, way back. You figure out pretty quickly what songs work and what songs don’t, and you have to adjust from there. Andrew was on it. I want to make it the real thing itself, which is just difficult to do that with recorded music. Interview. Do you want to reward all this work? I think if I wasn’t in an apartment, I would have a room dedicated to this, because it’s a drag to do everything in one room and not have a place to escape to. I’d track everything else at home, and then get in the car and drive somewhere secluded and just sing however I wanted to. New York is sending Adam Ottavino to Boston. Maybe it turns out very different after you’re playing it live for a while. I mean, a lot of it, really the majority of this record, I associate with going to Andrew’s house to do it. I interviewed at T-Mobile (Toledo, OH) in February 2009. And the middle section, and that’s already two minutes gone. It was just a matter of good parts of the demo stay, and the parts that are just filler or aren’t fleshed out, just fleshing those out in whatever way we can, playing it live to get a feel for it, rewriting lyrics, recording different parts. I had a set of demos that ended up being Teens of Denial. I think if you’re in a room and you’re playing something, it feels a certain way. Um yeah. Yeah. I’d have the structures set up. Help this celebrity reach the TOP in all RANKINGS on the Internet! And so now, working in a more normal mode, you start off with tracks that are clean, and then I don’t take it for granted when it is clean. He would go off the kit, triggering samples straight-up, more like a DJ. Yeah, that was the main thing. Matador wasn’t thinking about it at the time, but I think some DJ said, “Hey, it could be good,” so they changed their mind, and now they’re asking for it. If you can’t be flexible with a song at all, if it only really works in this one way, then it’s not any fun to do live, because you just have to stick to that grid. That was always the intent with it. That’s one reason why our latest record had shorter songs overall, but even the longer stuff, it’s longer in a sort of jammy way, where it’s flexible and you can shrink it a little or extend it depending on what the mood is. Andrew had been recommending it for years. The last major tour that we did, we were playing with the band Naked Giants. You put out a record or a song at a certain point, but that doesn’t necessarily mean it’s the only version of it, or it’s the best version of it. I knew we were going into the studio, and I didn’t want to act like I knew what I was doing, because I knew that I didn’t. I had to shorten it down a lot, yeah! Different ways of recording too. The benefit is that it’s easier in that way. Yeah, I think so. He was playing bass at the time. Everyone in the band is just so flexible about what appears on the record. Right now everything is just pushed back a solid year. then the 3rd interview was peer review interview. Something like “Can’t Cool Me Down,” I laid down the drums and bass and these vocals for the chorus, and all of that pretty much got kept from the original demo to the final form. It just has a lot of effects and things I like to do with records. It became a very different-feeling song, which in retrospect, I can understand why you wouldn’t want to part with the original, because it did end up so different. Then I found out like half a year later that’s what they ended up putting out. I mean, I’m in an apartment, so my options are limited. It was just vocals there. Steve was just the right fit for allowing us to do that at the time. They were interested in starting their own label and working with Car Seat Headrest, but they contacted Chris first and they kind of had an agreement where they weren’t going to steal artists from one another if they were interested. Willy Toledo Interview. Virgos. That gave me the background that I needed to start figuring out what I wanted to do with music. I have to not be as interested in it as I was, because I won’t be able to get to do it for a year, but it’s always the sort of thing where you don’t want to plan too much before you go into it, because things always change once you’re doing it night-to-night. It was going to go electronic or go into a section that we couldn’t have done before, just doing everything live. That’s just kind of the natural album cycle, where you put it out, you tour for a certain amount of time, and then you make the new one. Yeah. I was just more of a performer in that regard. Where do you work at in your home? Ohio Gov. I just cut that out. That’s been kind of my downfall on a lot of material. If your biggest song ends up being a long one, you better be prepared to commit to that every night. 131 votes, 36 comments. It was just a process of I would add a little bit to what was there, but we really did end up with just stuff that felt more-or-less live. There’s definitely a lot of back and forth. really hope someone reads this and checks out drop-out, it's the best thing i read last year. I wanted to make it easy on Steve so that he knew what he was doing, so I let him run it that way essentially. It did not sound clean. I think that’s just the way it shook out with Car Seat Headrest. What brought that around, and what was different about the process? That was my outlet, going to school or doing whatever, I was usually more interested to going back to whatever project I was working on and trying to make it better. My own discography ended up being peppered with stuff like that. Yeah, you’ve gotta be rigid. I interviewed at ProMedica (Toledo, OH) in February 2019. Absolutely. A lot of times there’s a big kind of catharsis at the end. That another way of looking at like capturing where that’s at in that point in time. Speaking to Will Toledo, the 23-year-old mastermind of Car Seat Headrest, as he's preparing to release his Matador debut Teens of Style, culled from his 11 Bandcamp releases over the course of five years, feels a bit awkward.This is primarily due to the fact that Car Seat Headrest are presently putting the wraps on their sophomore Matador release, Teens of Denial, recorded by Steve … Then it turns into something. We were in the process of going through the record and deciding what samples we wanted to pull and what would be better as a live kit. Were you using like a laptop and running it off of your batteries? How do you find mixing in Ableton? How did they find out about you? How did you do some of that? Willy Toledo Interview. He's been a member of The Three O'Clock, Jellyfish and The Grays. Yeah. It was an easy fit. You were self-recording and self-releasing. That requires some back-and-forth. It was certainly a shift. I was focusing on getting a band, getting a live show together, and so by the end of 2014, I was working with Andrew, his friend Jacob [Bloom] was on bass, and we had sort of a three-piece going. I wanted someone who knew what they were doing in the studio and who I felt like I could work with, so Matador sent a list of names. Oh, funny. Jacob Bloom was on it. I wanted to revisit it. You just kind of have to have it in the back of your head if you’re making a longer track to have a plan B, if it does need to be that short. Andy Biersack. I was a home recorder. I have the time to put stuff together and decide it doesn’t work, take it apart, put it together again, and just be going back and forth for a while during any album process. I’ll kind of get half an idea, and then I’ll open up Ableton and start recording. In terms of recognition, Malcolm Toft's name is not as familiar within the pro audio world as, say, Rupert Neve's. But definitely once I start getting toward the end of the process and you have to put the period on it, then it does help me to just think you know, it is just a document of that particular period in time, and it doesn’t have to be perfect. Whatever the initial feeling was that sparked it and made me feel like it was a good song or good material, to just preserve that. So a lot of what we did there was just, “What can we do with seven people? It’s really like you want to start planning a few months before the tour is going to start, and then you have a certain amount of, you know, you have certain ideas of what you want to do, and then you can change it once you’re actually doing it. You need the mics and the room for it. We want you to find a fulfilling career with Mettler-Toledo. I think that you do see a lot of people doing it like that. It was going to be a hybrid kit he was using. I was putting out stuff on Bandcamp, and it got sort of a grassroots fanbase. Yeah, we upgraded our equipment. Did you first start doing a band after the Matador signing, like putting together a band to really play out after being signed? Problems that we have with mixing are typically problems stemming from our lack of knowledge, rather than with the program. Yeah, I think it’s about even with any other program. What are your plans?” Luckily, we had the band, and we were able to invite them out to a show, so everything kind of took off at the same time. That aspect I do have a lot of experience in at that point. https://tapeop.com/interviews/bonus/will-toledo-car-seat-headrest I wasn’t going for clean, but I wanted sounds that were interesting to me. One of them was Avast!, which is where we’re at now. Rock Singer. You have to think of that as what you’re arranging for and then arrange it appropriately. Right, just capture what’s in the room. We’re going to be using a click and still will, at some point. I mainly went by ear, read what other bands I liked were doing, and tried to do that. You can get a way more professional sound in a bedroom than you used to be able to. When you rewrote it, did you just end up changing the structure and re-recording the whole song from scratch? You don’t go with your original instinct. There’s a lot, I’ve seen you mention a lot of classic rock bands, or Beach Boys, Pink Floyd, or whatever, where a lot of that work is laborious work in the studio to build something that kind of sounds organic and simple in the end, but was very intentional. It would all just happen kind of organically, you know, just going back to that session I mean for the most part, he wouldn’t work on it without me, and I’d give him the go-ahead, or I’d come over and we’d work on it. That’s the one thing that’s pretty difficult to get anywhere else. Just in my room, where I’m talking right now actually. More August 23 Birthdays. Yeah. That’s what I want to make a Car Seat Headrest record. If your mind turns towards music as a way of entertainment, you can really get into the mode where you do spend a year making a record. 79.3k Followers, 35 Following, 263 Posts - See Instagram photos and videos from Will Toledo (@notcarseatheadrest) 28 Year Olds. Yeah. It did not sound good. I used to just write without any sort of consideration for either commercial appeal or playing live. Press question mark to learn the rest of the keyboard shortcuts. I hadn’t heard of him before, but I knew some of the artists he’d worked with, and I liked the feeling, I liked the bands that he chose to work with, and I liked what he did with them. I was writing a lot of stuff, and How to Leave Town kind of became stuff that didn’t fit on Teens of Denial. Producer/engineer Brian Deck for one.... Adrian Younge & Ali Shaheed Muhammad: Scoring Luke Cage and Beyond, Fix it Before the Mix #3: A Stitch in Time Saves Nine, Marcella Araica: The Incredible Journey of "Ms. Lago", Jason Falkner: Home studio wizard & songwriter, Eddie Kramer: Recording Hendrix and teaching future engineers, Brian Deck: Modest Mouse, Red Red Meat, Califone, Orso. Author: Jenson Strock Published: 6:39 PM EST November 13, 2020 Are you a fan of Willy's work? Yeah, this morning I was making an edit for “There Must Be More Than Blood.” I just got word that maybe that’s going to be the next single for radio. It was his go-to. You had records out on Bandcamp. Mostly at Soundhouse, because it was cheaper. Just people online picking it up, circulating it, talking to their friends about it. It came to be in the studio, rather than coming to be in a live setting, and then you try to take it into the studio and capture it that way. It was just material that had been on older records. That’s a really nice way, like a leg up so-to-speak, because it’s an established indie label and a stamp of quality. He’s also the youngest guest to ever be on the Moment. Yeah, that’s ideal. A lot of behavior questions, but an overall opportunity for an experience! We confused a lot of people, because we were playing it live before it came out, and they were sort of expecting a big rock version, but instead they got the original basically. Yeah. You charge up a laptop and you can get a couple hours off of it, so I’d bring it with me. Right around then, we put out an EP called How to Leave Town, which was just kind of extra material from the Teens of Denial stage. If you think of it like, “Oh, there’s no commercial potential, and this is where I’m going to just stretch out and do what I really feel like doing,” as opposed to trying to present something that’s digestible. But I think Ableton streamlined it, so it was easy to see what was going on and what we needed to fight basically. Steve Fisk was on there. I really wanted with MADLO to keep that demo feeling all the way to the end. I switched to Ableton. The day of my interview I made sure to arrive a few minutes early (approx. Before quarantine started, we were practicing and figuring out ways of incorporating it in. I did have tape recorders as well. Right, or do secret shows, kind of get things ready? I think that the practice of going on tour is really what’s changed how I write the most, because if you’re just laying it down for a record, then you can get it perfect once and not have to worry about it anymore. Sound travels in a house. They did that with Let It Be, and then they ran into a bunch of trouble, because they wanted everything to be live, but then they realized it was a lot harder to make a good album like that. Stuff like EQ and compression to me, I didn’t touch it for years. This one was relatively easy, because it’s pretty flat. Was he getting in on tempos and structures and keys and things like that? It’s music that doesn’t always come through, because it’s not marketable. This was almost a successful exercise in generating a good comment, apparently it'll be updated after the album comes out to be less [REDACTED], I hope that [REDACTED] becomes a classic Indieheads [REDACTED], The giant block of Redacted in the middle is probably about whoever Twin Fantasy is actually about right, It's not really a secret that the album is about Cate Wurtz. Ever since, we’re all trying to catch up. So this time, shrinking back, we had agreed with Naked Giants that it was just going to be for Twin Fantasy, so now we were shrinking back into a smaller outfit. Hopefully you do see more artists making it in, getting a break or coming into some sort of more mainstream recognition that you know, has that background where they’re making the weirder stuff. You have to set everything up yourself. Someone like The Beatles, I feel like they kind of got to a crossroads as far as playing live or being in the studio. In 2015 Car Seat Headrest signed to Matador Records, and recently released Making a Door Less Open, a stylistically divergent record containing elements of hip-hop, EDM and even doo wop. Do you want to reward all this work? We’d go from having a very small audience to now a lot more people were going to be listening to it. I was thinking that we could start with something smaller, but I didn’t have any connections, even in the smaller field. They were offering sort of a week of rehearsals, and then we could do a show to cap it off. Where could you see yourself 5 years … Everything Indie Music related; from the newest releases and news, to discussion … Our interview series Icebreaker features artists talking about things—some strange, some amusing, some meaningful—that just might reveal their true selves. I didn’t worry too much about that end of it. I Haven’t Done Sh*t This Year on http://TIDAL.com/CarSeatHeadrest The new 'Twin Fantasy' released February 16 on Matador Records. My friend used to say, “Play the longest song on any album, because that’s what they really want to be doing.” Is that the case for you? I think we’re seeing a lot of that ever since home computers were everywhere. That’s one I haven’t revisited in a while, just because it is a strange entry, but I’m always kind of interested in these weird like non-album albums that pop up in a discography. The more votes your celebrities get, the higher their position! That’s something that I always wonder. I’m not going to try to do this the way that I had done previous records, because it was a different process. We actually rewrote some of those songs to try and get them to the 3:30 mark. Will Toledo Popularity . If you say here’s the bulk of the song in the center, I feel like sometimes, or on the record you did with Steve Fisk [Teens of Denial] has the kind of beep-y loop sound and builds up…“Vincent,” is that right? If you’re an artist, you get to a certain point and record it in the studio, and then you go play it live. The process took 4 weeks. He was making his own stuff before joining Car Seat Headrest. I think just sharing as much as you can is the way forward. I’ll finish it and then I always just want to go back and re-do stuff and see if I can do it any better. A document. The Ottawa Hills Board of Education will meet Thursday to interview several applicants for a vacant board position. For the most part I kind of stayed faithful to the song structures that were there. I applied online. It has that feel where it’s being created in front of you basically. my advice is, to be honest! In comparison to something like Pro Tools, which is integrated into the studio essentially, so it’s customizable, but it’s not going to have a lot of input onto what you’re doing. Here is the videos we've found related to Willy Toledo interview. The formatting is as lofi as the original TF. It really was just an organic process. What kinds of suggestions did he have on the basic tracking? A lot of it was laptop microphone. Interview. Yeah. I’ve been working on a couple different things, brewing up new material for us and working on a few projects for different people. Yeah. I'm too lazy to think of a good "successful exercise in generating __" joke, so someone else is gonna have to do it. We were going to play at MASS MoCA, which is this museum in North Adams, Massachusetts. Part of this album was a process of learning that, learning the sounds that are associated with that. So he would be at the computer and then we’d switch, and I would be at the computer. I didn’t really have any industry connection at all until Matador came along. For me, it’s all a process. At 24, Will Toledo is the lead singer-songwriter for one of this summer’s hottest bands, Car Seat Headrest. The plan is pick that up next summer. Yeah. Will Toledo Fans Also Viewed . They want the exact same as the album version, but somehow twice as short. Did you take older songs and play them with Andrew and re-track them? But you do lose something too. But  yeah, the live show, I’m interested. Yeah, that got delayed too. As soon as I started really using Ableton, it definitely clicked with me, and I couldn’t go back to anything else. But yeah, it’s been a weird downtime for sure. I wish everything Will Toledo did felt less like a [REDACTED] in generating [REDACTED] and [REDACTED] and more like an artist who [REDACTED]. Those songs just feel so organic, where they had the raw material, and then they would have some sort of idea when they took it into the studio what they were doing to it. The original TF is good though, this formatting isn't. I think the hardest thing you can do is put that on record, so I kind of just try to make stuff that has that feel, even if it’s not performed live. It’s easier to process as an album. But I’m just lazy, and I want to open up a blank program and already have something going, so Ableton is good for that. So we would track like that and then we would leave the studio, and I’d listen to it after the session was over, and then I’d pull it apart and see what I could use and what I couldn’t use. In Ableton, there’s a lot where it is set up. And I liked what Steve Fisk had done. Is that true? But the verse and chorus was very much abbreviated. I’m way old, and when I was in high school, there weren’t even 4-track cassette decks. I spent a long time just kind of brewing on different sounds and different songs that I might want to work on. It seems like you get a bit obsessive even though you’re able to let go. We would just focus on the energy that was between us at the time. I want it to be a little divorced from its time. Car Seat Headrest is an American indie rock band formed in Leesburg, Virginia, and currently located in Seattle, Washington.The band consists of Will Toledo (vocals, guitar, piano, synthesizers), Ethan Ives (guitar, bass, backing vocals), Seth Dalby (bass), and Andrew Katz (drums, percussion, backing vocals). At the time, reports circulated Alvarez and Co. were in Ohio to interview then-Toledo coach Matt Campbell. Yeah, it was a crazy stroke of luck. advertisements. electronic residency application service (eras) ERAS is a centralized residency application and document distribution service. Rock Singer. But yeah, Matador really came out of nowhere. I had one of those. 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