John Spence - Studio Engineer On The Reptile House E.P.

[eastmidswhizzkid]

The following was written for Phil Verne's 'The Sisters Of Mercy 1980-85' Facebook Group and Phil has kindly offered it for the perusal of those Heartlanders who don't do Facebook. It is the recollection of John Spence , the recording and mastering engineer at Ken Giles' Bridlington Studio for the recording of The Reptile House E.P. (John's bio follows his piece.)

JOHN SPENCE :

"The five tracks on the EP were mixed in one long 38 hour session."

"I was involved from the beginning but Ken Giles spent a good bit of time showing me the set up he had used for recording the drums from the Roland TR 606. Ken was running a big PA at that time and he would bring in a PA stack consisting of a 4x15 folded bass bin, a 2x12 midrange cabinet and a Piezo tweeter cabinet. The mono output from the 606 would be fed into a desk and out into this speaker stack. The bass bin was mic'd with an EV RE20 which was fed into one channel of the studio desk. The mid cabinet was mic'd with a Shure SM57 and fed into another channel and the high end was mic'd with another 57 and fed into a third channel. This gave us some degree of separation for the three main drum components...bass drum, snare drum and hi hats which would end up being mixed onto one track. Each of the mic input channels had a parametric equalizer inserted into the signal path and, once these three mics were routed onto one track of the 8 track tape machine, I would set to and create a drum sound/mix. When I was happy with it Andy would step in and start tweaking it. He would sit for hours listening to just the bass drum mic and fiddling with the eq, then the same with the snare channel and the high channel. At first I assumed that he was trying to achieve a certain sound but I later realized that he didn't actually know what he was doing, he was just finding out what each frequency sounded like. I added compression to the drum mics which Andy had never come across but he liked the effect. We would have recorded the drums for all the songs in one go having spent many hours achieving the sound. At some point (but not on the RH EP) Andy discovered that it was possible to synchronize two 606s which meant we could separate out the snare drum to a channel of its own which gave more options at the mix. From here on I have very little memory of events. The rest of the band spent most of the time lying around in sleeping bags on the studio floor and I don't remember who did what. Recording the vocal was challenging because Andy sang very, very quietly. I suspect it was the only way he could hold the pitch in the lower register. Ken's best vocal mic at that time was a Shure SM7, a good mic but with a very low output level so it was a struggle trying to get a decent recording level onto a 1" 8 track tape machine with no noise reduction system. At one point Andy asked me to point a mic directly at his throat and mix it in with the main vocal mic. We pursued that for a while but it didn't really work. He always wanted his voice to sound lower and deeper. The mixing process was not difficult but very time consuming. I would bring up the drum track on a desk channel, set a basic sound and level then Andy would sit for 3/4/5 hours twiddling with the eq and sends into a couple of effects. During this time I would hover around, smoke, drink coffee and read. When he declared himself happy with the drum sound I would then bring up the bass and the process started again followed by the guitars and vocals. i would balance up as we went along and take care of the technical side. One very distinct memory I do have is of when we'd finished the mixing and I'd edited the 1/4" tape to make a Production Master (tracks in the right order with the right gaps etc). Andy brought the rest of the band in to listen to it. When it finished there was no invitation to comment or offer any creative input...just "there it is". Sorry there isn't more detail but as I've said previously it was "just another session"."


The Engineer John Spence:
The career of recording and mastering engineer John Spence began in 1981. After playing guitar with bands during the 1970s, followed by two years experience on a touring concert PA system working with (among others) The Blues Band, Bad Manners, Southern Death Cult, Sex Gang Children and Geno Washington, John moved into studio work and quickly gained a reputation as a skilful and patient engineer.
His induction into the recording profession was by no means conventional; early clients included The Sisters of Mercy, The Three Johns, March Violets and The Mekons, all of whose influence helped to fashion John’s approach to making records.
Through the eighties his client list expanded to include The Revillos, John Parr (two albums featuring amongst others The Phoenix Horns) and in 1988 John recorded the seminal “Bummed” album by Happy Mondays working alongside the late legendary producer Martin Hannet. Since 1989 John has enjoyed a creative and inspiring relationship with Bill Nelson (Bebop Deluxe/Red Noise). With Bill as producer John has recorded and mixed albums for international artists such as Roger Eno, Kate St.John, Yumiko Morioka, Nautilus Pompelius and Channel Light Vessel as well as Bill’s own “Practically Wired” and “After the Satellite Sings” albums.
Continuing through the nineties credits have included arranging, programming and performing with The Giantkillers (MCA Records), three albums with The Toy Dolls (Trojan Records), recording and mixing an album by Lolita no.18 ( a high profile Japanese punk band) for Sony Records Japan and various projects with The Beautiful South. John’s work during these years with progressive rock bands Castanarc (four albums) and Mostly Autumn (six albums) clearly show that he is adept at recording big productions which include choirs and string sections.
The last few years have seen many of the above artists return to work with John as well as new projects with Paul Heaton, The Glitter Band and several emerging bands and artists such as Audio Subscene, La Bete Blooms, Emma Rugg and the Hillbilly Troupe.
John Spence's vast experience and Fairview's long standing reputation are the reasons that clients continually return to the studio. This is the highest compliment that can be paid to him and he gratefully acknowledges their support.
John is a freelance recording and mastering engineer with many years experience and a thorough working knowledge of recording technology. Visit him at www.johnspencerecording.co.uk and on Facebook at https://www.facebook.com/johnspencerecording/

[Swinnow]

The above reminds me of early 80's conversations in which "people in the know" told me of hours spent on things that don't matter that much. The then Ms Swinnow, who was a a student nurse and used to inhabit the pool table area of the Fav with her set mates, used to speculate that Von might be on the autistic spectrum.

[Planet Dave]

The following was written for Phil Verne's 'The Sisters Of Mercy 1980-85' Facebook Group and Phil has kindly offered it for the perusal of those Heartlanders who don't do Facebook. It is the recollection of John Spence , the recording and mastering engineer at Ken Giles' Bridlington Studio for the recording of The Reptile House E.P. (John's bio follows his piece.)

Good read, cheers for posting Lee, and cheers to Phil for allowing you to do so

[Icon]

The above reminds me of early 80's conversations in which "people in the know" told me of hours spent on things that don't matter that much. The then Ms Swinnow, who was a a student nurse and used to inhabit the pool table area of the Fav with her set mates, used to speculate that Von might be on the autistic spectrum.

When I read an article about autistic people a while ago I couldn’t help but wonder if Von is mildly autistic. I found so many similarities that It came to mind.

[GC]

I dont think its quite OK to speculate if people have or have n't got certain disorders. It does n't seem quite right to me.

[GC]

I dont think its quite OK to speculate if people have or have n't got certain disorders. It does n't seem quite right to me.

I meant on an open forum.

[Being645]

First of all thanks to Lee (and Phil) for making this nice recollection available here, and mostly to John Spence for sharing his memories with us. It was a nice read and I've linked the post to the SistersWiki. Many good wishes to him. He, too, must have suffered a lot under these COVID-restrictions.

I dont think its quite OK to speculate if people have or have n't got certain disorders. It does n't seem quite right to me.

I meant on an open forum.

The basic step to get to oneself in life is expression. So we need to talk about the things that move us and move our thought. Also it is of course fully ok to be or be not on the autistic spectrum. The fact that psychological conditions are per se defined as disorders is due to the undesired effects of such conditions, whether or not these might be the result of events involving disaster of any origin including the behaviour of other humans or of physical causes. And when it comes to making use of the psychological side of humanity - to the better (mostly not) or the worse - governments know no shame, either. So I for one find it important, rather, to talk about such stuff - openly, and for sure not behind closed doors or behind the back of the people concerned. Thank you, however, for trying to prevent any wrong. Nasty gossip creating ugly or off-putting images of people - in particular in order to get the better of them - is definitely not my cup of tea, either. Still, I wouldn't count the innocence of exploring youth among the latter, whatever that might or could have caused.

[copper]

Von's recollection was essentially the same.

“On records like 'Reptile House' or 'Temple of Love' they [Gary Marx and Craig Adams] didn't even play. They weren't into recording that much, they just wanted to play live. They were sleeping in some corner until I woke them up after I had played and recorded everything on my own. When they asked me how their guitar and bass parts had turned out, I used to say to them they performed very well. Gary didn't even listen to 'The Reptile House EP' until it had been released on vinyl and I handed it to him with the words, 'This is our new record, you'll like it!'" - src

[Wilkstein]

Just because he has an exceptional ability to stay focused, something that most people with Asperger's have by default, doesn't make him so. By definition pretty much anyone who is exceptionally gifted with an IQ in the top quartile will probably have issues with relating to and communicating with most people around them. You'll think that person is cold and aloof but likely all you're seeing is a particular persona that's elicited by the people around that person at that particular time.

[Nonesuch]

Just worth mentioning this Reptile House information had been shared on Nikolas Vitus Lagartija's fantastic blog - I Was A Teenage Sisters of Mercy Fan. I knew I'd read it somewhere before.

http://sistersfan.blogspot.com/2020/06/ ... house.html

His latest post is about the Royal Albert Hall gig and it's also essential reading!

[markfiend]

I'd like to second (third? fourth?) the thought that it's probably not particularly appropriate to share armchair autism-spectrum diagnoses on open forum.

[eastmidswhizzkid]

Just worth mentioning this Reptile House information had been shared on Nikolas Vitus Lagartija's fantastic blog - I Was A Teenage Sisters of Mercy Fan. I knew I'd read it somewhere before.

http://sistersfan.blogspot.com/2020/06/ ... house.html

His latest post is about the Royal Albert Hall gig and it's also essential reading!

oh ok didnt know that. i just had a PM from Phil offering the post. still, the more people it reaches the better eh?

[Nonesuch]

oh ok didnt know that. i just had a PM from Phil offering the post. still, the more people it reaches the better eh?

Yeah definitely, these old snippets of information are great and well worth sharing.

[Nonesuch]

Especially to those of us allergic to Facebook.

[vince]

Just worth mentioning this Reptile House information had been shared on Nikolas Vitus Lagartija's fantastic blog - I Was A Teenage Sisters of Mercy Fan. I knew I'd read it somewhere before.

http://sistersfan.blogspot.com/2020/06/ ... house.html

His latest post is about the Royal Albert Hall gig and it's also essential reading!

Certainly is. I didn't realise I was quoted on it until just now so that was a pleasant surprise!

[ruffers]

The following was written for Phil Verne's 'The Sisters Of Mercy 1980-85' Facebook Group and Phil has kindly offered it for the perusal of those Heartlanders who don't do Facebook. It is the recollection of John Spence , the recording and mastering engineer at Ken Giles' Bridlington Studio for the recording of The Reptile House E.P. (John's bio follows his piece.)

JOHN SPENCE :
Recording the vocal was challenging because Andy sang very, very quietly. I suspect it was the only way he could hold the pitch in the lower register.

This. I know it says on the main site he sings quiet, this sounds about right as a possible reason.

[Being645]

Just because he has an exceptional ability to stay focused, something that most people with Asperger's have by default, doesn't make him so. By definition pretty much anyone who is exceptionally gifted with an IQ in the top quartile will probably have issues with relating to and communicating with most people around them. You'll think that person is cold and aloof but likely all you're seeing is a particular persona that's elicited by the people around that person at that particular time.

I couldn't agree more.

I'd like to second (third? fourth?) the thought that it's probably not particularly appropriate to share armchair autism-spectrum diagnoses on open forum.

Well, at least we don't want to derail this thread in that direction ... ...

Von's recollection was essentially the same.

“On records like 'Reptile House' or 'Temple of Love' they [Gary Marx and Craig Adams] didn't even play. They weren't into recording that much, they just wanted to play live. They were sleeping in some corner until I woke them up after I had played and recorded everything on my own. When they asked me how their guitar and bass parts had turned out, I used to say to them they performed very well. Gary didn't even listen to 'The Reptile House EP' until it had been released on vinyl and I handed it to him with the words, 'This is our new record, you'll like it!'" - src

Oh yeah, I remember that quote (it's also in the Teenage Sisters Fan blog entry). With a company like that I wouldn't mind either to explore what is beyond the Mexican border once the opportunity occurs instead of spending time with those people in whatever hotel room ... ...

[eastmidswhizzkid]

With a company like that I wouldn't mind either to explore what is beyond the Mexican border once the opportunity occurs instead of spending time with those people in whatever hotel room ... ...

i SO wish i were at liberty to share the amusing mexican pyramid anecdote with you all....ask Mr. Denbigh...dont ask Von