Kees Hendrickx

Recording Artist / Producer

Recording Country Girl

Are you curious about the creative process behind the recording of “Country Girl”? 

“Country Girl” was brought to life in the peaceful and creative environment of Clashafree Studios, utilizing top studio-grade equipment, including a UA Apollo x6 interface and a WA273 Neve clone microphone pre-amplifier. I utilized Logic Pro X and Avid MC Controller as a mixer to capture and blend each element of the song.

I started with recording the guide track featuring just the acoustic guitar and main vocal. The vocals were recorded with an SE Gemini microphone through the Unison Avalon VT-737 Tube Channel Strip. The acoustic guitar was captured through the WA273 with an AKG C414 and AKG C451, giving it a warm and rich sound. The acoustic guitar sounded really nice so these became the tracks used in the final version.

The creative process continued with the addition of a mandolin using the same microphone set up as the guitar. Then came the percussion elements, shakers and tambourine. The bass was recorded directly into the Apollo through the Unison Helios pre-amplifier. Then I added the harmonies. I always find adding harmonies can bring out more creative ideas, like the whistling harmony part which added a bigger, fuller sound to the chorus. 

The Cajon was recorded in a full-day session in the living room. James came in and recorded his Cajon parts and then the vocal and whistling harmony parts. The Cajon was recorded with the AKG C451 on the snare and the Shure Beta 52A and SE Gemini for the lower bass tones, the Beta 52A placed almost in the sound hole at the back.

To add some depth and richness to the sound, I incorporated a soft low organ part into the track. I used my Kawai MP9500 piano, which I have connected to my system via MIDI, to play software instruments in Logic Pro, creating a lovely blend with the bass guitar. 

The logic Pro session with a total of 33 tracks

As I record, I constantly fine-tune the mix so by the time I had finished recording all the elements of the song, I already had a pretty good rough mix going. I then sent these mixes to Christian Martin and Rian McCarthy, who added their unique touch by recording their fiddle and banjo parts separately in the comfort of their own spaces. The beauty of modern recording technology is that with a portable recording system, you can record anywhere and still produce professional-quality sound. 

Once I received their recorded parts back, I seamlessly incorporated them into the mix and with a few final adjustments, the track was complete.

I then sent it off to Pete Maher who worked his mastering magic over the track, and voila! The final product was ready to be shared with the world.