I recorded the sophomore album with Xylofaux in the winter of 2011/2012 at the legendary Seaside Lounge Recording Studio (Nicole Atkins, Ted Leo, Beirut) in Park Slope Brooklyn. In 3 days we tracked almost every part of Circuitry in a live fashion. We recorded to a beautiful but very fragile 3m M56 16 track 2″ tape machine. This machine is one of, if not the sweetest tape machine I have ever used. It is rather touchy but once it is working well it screams tone in a manner than brought this Xylofaux record to a new place sonically. It made the drums sit in this smooth 70’s fashion that placed the record in another time, yet with a hint of a modern sheen from Pro Tools (in mix) as well.
We mixed at The Buddy Project Recording Studio in Astoria New York.
Bedfellows You and I
Bedfellows is the project of singer songwriter Justin Vassallo. I started working with Justin in the winter of 2008 with his noise rock band Technoir MA. We quickly built a rapport of synth production and overly complex wordy descriptions to sounds. Bedfellows is the result of the years of discussion about the social implications of effects pedals or cultural relevance to house music.
You and I was started at Q Division in Somerville Massachusetts. Q Division had a great selection of vintage analog synthesizers that we used throughout this record. We recorded in studio B which has a fantastic sounding Trident Series B console. This was one of the first studios I started recording in so I have a fondness for the vibe and character of Q Division. We finished overdubs and mixed at The Buddy Project in Astoria New York.
Fast Years Women EP
Fast Years is a collaboration between Micah Weisberg (I Love Monsters) and Bill Dvorak (Gunfight). We recorded this mini album over the course of three days at The Kennel Recording Studio in Brooklyn NY. The concept was to shoot for inspired live takes, with minimal overdubs. The result is a raw, distorted power pop record with a sense of PBR soaked loft parties.
I mixed The Women EP at The Buddy Project in Astoria New York. This studio provides a hybrid of analog and digital gear to create a classic sounding mix without the expense of a large mix room. The vocals were processed through an Orban spring reverb and a Vox AC15 guitar amp to get that “pumped up but distant” sound.
In the spring of 2011 I happened upon a young band at a rock venue in Park Slope Brooklyn called South Paw. South Paw closed months later but that young band, Parade Grounds was worth a second listen. After much discussion with Jared Sochinsky about the nature of his debut album we spent a few days recording at The Kennel Recording Studio to sculpt the basics for his first record. We recorded his basics live to 2″ tape and edited within protools. The session was intimate and warm with players close to each other as if in rehearsal but with fantastic isolation and sonic integrity. Jared then took these recordings into his home studio to finish overdubs and mixing.
In the summer of 2006, Shane Michael Rose and fellow engineer Kevin Ennis recorded Pulling Out Just Enough To Win at Vindaloo, Aerosmith’s personal headquarters and recording studio. The privelege of working in such a facility offered the use of some of rock and roll’s most sought after vintage gear.
“Through the course of the recording process, we would move a box in the back warehouse, and find an unmarked box full of vinatage microphones or an extremely rare guitar amp. Most of the equipment at Vindaloo was gear that most studios and engineers dream about owning. The whole place was comprised of this type of gear… amazing”
Released in the spring of 2009, That Thing That You Want To Put A Finger To Is Because put Blackbutton on the map of vital Boston rock bands. Blackbutton and producer Shane Michael Rose strove to keep the record close to the live experience of Blackbutton, while still providing a well produced and exciting album.
” The record has a very calculated and artful emotional arch. Throughout the recording experience, we talked extensively about the listener experience, and how they would react to the song sequence and how intros would relate to outro. The result was a record that hopefully will stand the test of time as a piece of work that will be listened to beginning to end”
Over the course of 9 months in 2007-08 Shane Michael Rose and The Milling Gowns produced a growling, intimate and diverse album of gloomy pop. Through careful and arrangements and morose, post goth lyricism, Diving Bell Shallows created a notch in the bedpost of Boston pop rock.
“After the first recording session with The Milling Gowns, I knew this record would be unlike anything I had ever worked on before. Each member was so focused and certain of their end goal for the record, that they really kept me on my engineering and production toes. The sheer quantity of session musicians that came through my studio for this record was a challenge, regardless of the music! There isn’t a song on this record that doesn’t include a left field suprise, either a huge choir, a string section, or a toy piano and yoga mantra sound collage.”
Here are some artists Shane Michael Rose has worked with:
Xylofaux (produced, engineered)
The False Alarms (engineered, mixed)
Tab The Band (North Street Records) (engineered)
Jason Anderson (K Records) (engineered)
The Peasantry (MTM Records) (produced, engineered)
Cougar In The Workplace (produced, engineered,mixed)
The Blue Pages (produced, engineered)
Protokoll (Iheartcomix Records) (produced, engineered)
Cassavettes (produced, mixed, mastered, engineered)
Easton Legacy (engineered)
Jean Claude Jam Band( produced, engineered, mixed)
This Is How Rumors Get Started (Wax On felt Records)( engineered)
Get Laid( mastered)
The Painted Lights( engineered, mixed)
Brontosaur (engineered, mixed)
The Last Front (produced, engineered, mixed)
All These Kings ( engineered)
This is just a few of the artists that Shane Michael Rose has worked with
email: firstname.lastname@example.org for a complete list of credits and past clients.
“Working with Shane was a great experience. He knew how to chase the sounds in my head, and nail them to the wall. It felt like we were in a sonic laboratory, conjuring aural magic from unexpected sources. He definitely added some great ideas to our record, and I am very happy with our final mix. It was a pleasure to work with him.”
-James Houlahan of Dogs On Television
“We picked Shane to mix our record out of about 20 applicants based on a good first impression. Fortunately for us, he followed through 100%. Shane understood our music and knew how to take it somewhere new. He was genuinely easy going at all stages of communication, even when things got a bit intense. And he was totally engaged in the project, applying himself to all levels of detail in the mix, fine and coarse. He was personally invested in the project. Most important, Shane delivered a great result within the time and money constraints that we agreed on. I look forward to working with Shane again soon.”
Ted Strauss- Grub Animal
“Having worked closely with Shane at the Milkhouse, I can tell you that I have only had great experiences with him. Shane always takes projects a step further by recommending ways in which the artist can better promote themselves after the actual recording process is over.” – Justin Shapiro (producer/ artist manager)
” I can say that I am very happy that I made the choice to work with Shane and have appreciated his continued enthusiasm throughout the recording process” –Kelli Eagan
“From the moment we first met Shane, we knew he was the right one to record our debut EP. Shane mixes deft command of modern technology with a DIY sensibility that can make whatever you’re doing sound its best. Shane is a brilliant engineer. He is approachable and honest in the studio. He wasn’t afraid to ask us for another take when he knew we could do better….nor was he afraid to keep our perfectionism in check and suggest that we keep an existing one. Working with Shane has been one of the most important steps in our development as artists and as musicians. Having worked with Shane, we realize that we ended up with much more than an engineer. We got someone who invested himself fully in our project and in future success. ” – Metaphor For Everything