Engineering the Sound: Mac DeMarco’s ‘Salad Days’

The Journey to 'Salad Days'

After the success of his 2012 album 2, Mac DeMarco's fanbase expanded globally, eagerly anticipating his next release. In a 2014 interview with Pitchfork, DeMarco described feeling "weathered and beat down and grown up all of a sudden" after nearly two years of relentless touring and media engagements (Pitchfork).

This sense of weariness and maturity is palpable in Salad Days, his second full-length album. DeMarco's music evolved technically and thematically, reflecting his personal growth. "It’s weird because I did it all in about a month. Maybe it was the mood I was in, I didn’t really feel like writing a ‘rock’ song," DeMarco explained in an interview with Under the Radar (Under the Radar).

Despite this evolution, Salad Days retains DeMarco's signature charm and cheekiness. Compared to his earlier works, this album speaks on a deeper level, blending lo-fi indie-rock with more mature themes.

The Making of 'Salad Days'

Step 1: Pure, Unfiltered Mac

DeMarco's music is a direct reflection of his character. This authenticity shines through in Salad Days, an album entirely performed, recorded, and mixed by DeMarco himself at Jizz Jazz Studios, his small Brooklyn apartment. When asked why he didn't involve his band in the recording process, DeMarco told American Songwriter, "I feel like I’m most satisfied when I can do it myself... Guitar and bass: I’m okay at. Drums: I can scratch my way by. Keyboard: I’m not super good at, but that’s fun for me because I don’t really know what I’m doing, and maybe something weird will happen, y’know?" (American Songwriter).

This DIY approach resulted in an unfiltered product that truly represents DeMarco, free from external influences.

Step 2: Analog Gear and Tape Machines

A significant portion of the warm, wobbly vibes on Salad Days comes from DeMarco's use of analog gear, including a Focusrite ISA One Analog Preamp, a vintage Roland Juno-60, and notably, a Fostex A-8 Tape machine. In the 2014 Pitchfork documentary Pepperoni Playboy, DeMarco reveals that the trick to his signature sound is "all pitch control you dumbasses, get yourself a tape machine" as he humorously manipulates the pitch knob on his Fostex (Pitchfork).

Recording to tape requires expertise and care, particularly in protecting the magnetic tape from damage. By the end of the recording process, DeMarco's eight-channel tape machine was down to six channels, and the tape had slightly warped due to his chain-smoking habit. Despite these challenges, DeMarco embraced the imperfections, stating, "The guitars sound so fucked up... It’s amazing."

Step 3: Unique Guitar Tones

DeMarco's metallic guitar tones are a hallmark of his sound, prominently featured on Salad Days. His beloved 60s Sears guitar, purchased for just $30, plays a crucial role. This Japanese-built guitar, with its single coil neck pickup, produces the clean, jangly tones that define DeMarco's music. Recording this inexpensive guitar through a high-quality tape machine further shaped its distinctive sound.

DeMarco's go-to effects unit is the Alesis Microverb 4, which he uses to create rich, wavering chords and an overall lo-fi quality. "I’m finding things that I used to think were really cheesy or really lame, like classic rock guitar sounds weird, the effects, I hated it before. But now I think like flanger? I love it; it’s great," DeMarco told American Songwriter.

Step 4: Unconventional Panning and Stereo Image

Another distinctive feature of Salad Days is its panning and stereo image. Due to the limited channels on the Fostex, the drums are grouped closely together and sit narrowly in the mix. In songs like "Brother," "Passing Out Pieces," "Go Easy," and "Jonny’s Odyssey," the drums are panned to one side with the bass mirrored on the other. This technique, reminiscent of old jazz recordings, is uncommon in modern indie music, adding to the album's unique character.

Step 5: Professional Mastering

While DeMarco handled most aspects of creating Salad Days, he outsourced the mastering to Josh Bonati of Bonati Mastering in Brooklyn, NYC. Bonati, a seasoned engineer with clients like DIIV, Lust For Youth, and Beach Fossils, ensured the album sounded smooth and balanced despite DeMarco's homespun recording style. The result is an album that, while not technically flawless, is perfectly imperfect, capturing the essence of DeMarco's artistry.

Lesser-Known Stats and Facts

• Salad Days debuted at number 30 on the Billboard 200, a significant achievement for an indie artist (Billboard).
• The album was nominated for the 2014 Polaris Music Prize, highlighting its critical acclaim in Canada (Polaris Music Prize).
• DeMarco's use of the Fostex A-8 Tape machine, a relatively obscure piece of equipment, contributed to the album's unique sound. This machine, originally released in the 1980s, is prized for its warm, analog quality.

Conclusion

Salad Days is a testament to Mac DeMarco's unique approach to music-making. From his DIY ethos to his use of analog gear and tape machines, DeMarco created an album that is both technically innovative and deeply personal. The imperfections and quirks of Salad Days are not flaws but integral parts of its charm, making it a standout in the indie rock genre.