New Day, New Title

Zep is no more. Now, I call it Dark Water, and I THINK it's done. I may muck about with the vocals, but the song works...surprisingly well, honestly. I had sort of come to a point where I was wondering where the acoustic/clean tone guitar part, which was the whole genesis of calling the song Zep, went, but then I realized that I didn't miss it, at all, really.

Now it's not perfect, but nothing ever is. I suspect the lead break/guitar solo is too long, and the progression under it too static.That said, I think it's time to let it go. I could get locked into my own head, and chase "perfection" for ever...and I'll never, ever get there.

So, I'm putting it to bed.

Unless I wanna try another run at the vocal part...

I also started on Deliverance, I've laid down the basic guitar, drums and the bass part. I'm digging it. It's a slower, more open sounding track.

I'm not digging what sounds like a short in my crash cymbal trigger. I worked around it for the drum
part, but I can't, at the moment, get a ringing crash out of it. It cuts off like I've hit it again. Of course, I think that might be vibration in the frame, and I heard it triggering when I hit the snare, at points.

I'll work it out.

The tune is a bit more "open," I think. Lyric ideas, at least to start, are based on the film.

So, yeah..."Squeal like a pig"

Zep No More?

I started trying to lay down vocals for Zep over the weekend. There's temp bass and a temp guitar solo. The former because I'm still wanting Pauly C to lay down bass for me, and the latter because I, flat out, can do better.

Ultimately, I think I have to change the name of the song. While the inspiration is still very much Zeppelin, it's strongly apparent that I will not be able to pull off a Robert Plant-style vocal line. I feel no shame over this, I mean, there are very, very few people who can sing anything like Robert Plant. I also simply can't play drums like Bonzo, and, yet again, few can. The track also simply doesn't have the improvisational feel of most Zeppelin stuff. That's just the nature of how I'm recording...I have to plan out arrangements and structure.

The influence is still felt. I had lyrics jotted down to work from, and as I worked with them, I felt that I had fallen into the same trap I often do. Too literal. Not in terms of content, so much as that I tend to approach lyrics in a much too linear way. I want to tell a story, I want each line to lead logically to the next. Which I find starts nudging me closer and closer to "moon, june, croon" bullshit.

Zeppelin had a wonderful sense of imagery over story, and I've been re-working the verses, pushing more in that direction. The chorus already seems to work, and it's almost literally nonsense words. Of course, I'm so hook-oriented when it comes to a chorus. Into how the rhythm of the words falls off the tongue, more than anything else, I've always had an easier time saying, "makes no sense - screw it, it's catchy."

All that aside, the material is proceeding well. A pattern is forming, where I lay in the drums, then get paranoid that they're "off," then, as I start putting the other material over what's there, the whole thing tightens up. It's exciting, honestly. The drumming is rudimentary, at best, but I love the "human" element of it. There's no doubt in my mind that moving on from the drum machine has been the single best decision I've made, in regards to long-term creativity, as far as music goes.

I am so excited to move on to the next few tracks, which are more straight-ahead rockers. Shorter, less forethought required. I'm hoping I can put them to bed quickly. The tally stands at 3 completed tracks, one "in process" (but closer to done than not), and 4 more or less written, and ready to go. That gives me 8 tracks total, I usually aim for 12, but I may cut back. I'd rather put out something shorter than pull 4 tracks out of my ass. There was a lot of that on Where Have All the Heroes Gone? and I think it was pretty obvious. That said, I have a couple of riffs I've been messing with that could evolve in time to be included. We'll see what shakes out.

In other music talk, I downloaded the debut, self-titled album from The Winery Dogs. Another in the recent spate of "supergroups," it features Mike Portnoy (ex-Dream Theatre, Flying Colors) on drums, Billy Sheehan (Mr. Big, ex-David Lee Roth Band)on bass, and Richie Kotzen (who, in addition to his solo career, had brief runs as a replacement guitarist in both Mr. Big and Poison) on guitar and vocals.

The cops on display are monstrous. All of these guys are top, top flight players. The album is, without a doubt, a bit of a shredfest, and I can dig that. As a player, I love listening and watching players who are simply some of the best in the world. However, I'm also acutely aware that great playing does not make a great song. All the notes in the world, no matter how fast you play them, can't make a great song without feel and melody.

I was prepared for the shred on The Winery Dogs, what was pleasantly surprising is how catchy and tuneful this deeply blues-based set is. I was a little worried while listening to the opening seconds of the first track, Elevate, which is good, but busy. It brushes right up against overdoing it, but when you hit the incredibly catchy chorus, all feels well.

It's definitely a hard-rock, blues-based album. If you're not into that, I'd pass by, but there is tons of great stuff here if you are. With tracks that are just on fire with musicianship, and others that lay back and allow texture and feel to win the day. Kotzen's voice is also compelling, reminding me a lot of Chris Cornell. As I listened, I couldn't help but think that The Winery Dogs is, fairly effortlessly, what Black Country Communion expended a lot of effort to reach.

If what I've written makes you curious, I'd recommend checking the album out on Spotify. You may dig it. 

Is Dropping My Bass On My Foot An Omen?

I was trying to lay down a temp bassline for Zep the other night, I was tangled up in cords, trying to puzzle through what I needed for the track. Something got hung up, and I gave it a tug to free it, and it yanked the strap right off the front button.

Down she went. Right onto my foot. the same foot I smashed the crap out of in college with a pallet jack while doing night stocking at a grocery store. Fear was my main response. After the initial yelp of pain, and "FUCK!!!," I had a sinking suspicion I'd broken the damn thing.

Of course, I also had a fear that I'd broken the bass. The last time I dropped it, it shoved the cable right through the jack plate. (Cheap bass, yes). I didn't even notice until weeks, months later when I was helping a friend record some acoustic tracks, and I suggested some bottom end might fill out the sound. Great idea. Having a non-working bass...not so great.

In the end? The bass is fine, and my foot has a nice, deep bruise across it, but otherwise none the
worse for wear. 

I was planning to hold off on the bassline until Paul C. could come over and do it, but I needed the bass track to put the guitar parts together. The song has been a bit of a bitch to wrangle. The drum parts are done...maybe. There's a few points where I think everything could be a bit more in synch. I'm thinking I might take another run at it once I've put down the guitar parts.

This is really going to be the first time I've "built" a track out of individual guitar parts...not overdubs, which I have done a lot, but different tracks for the different sections of the song. The verses are going to be lighter, acoustic, or at least clean electric. The pre-chorus and chorus are both heavier and distorted. This sort of thing just didn't feel possible when I was working with just 8 tracks (especially when only 4 were available at a time), but with 24, I have room to play.

But it's moving along, I think I've even solved the lyric question. I don't know that they're brilliant, or anything, but I thin they fit with the tone of the piece, and should be interesting. I am excited to move on to the next couple of tracks, which (as I've said) are more straight-ahead rockers, and ought to be easier to get situated. In particular, Reason has presented it's own lyrical solutions, as well as some structural changes that are exciting. I've also been refining a new riff and concept I'm calling Deliverance.

I feel good. It's been ungodly hot in Chicago, when you add a sealed-up room to record in, and my own sweaty nature, it does get a little..drippy. Even at that, I'm excited and invigorated. Of course, I'm starting rehearsals in a few days for Warped. Which is sure to slow me down, but I am DETERMINED to not get off-task with this stuff. The album will be done before the end of the year.

Speaking of Warped, and Stage Left, if you have any interest in helping, or ability to help, a small, non-profit theatre company, you can find info here about our mid-summer fundraising drive.

The other thing on my mind the last few days is that The San Diego Comic-Con began today.

Boy, do I wish I was there. 

There really is nothing like SDCC. Other conventions just seem...underdeveloped, in comparison. My visit to the Chicago Comics and Entertainment Expo just felt underwhelming, and I know that's because I was trying to use it as a replacement for visiting San Diego.

It can't compete. Few conventions can. Certainly not the ones Wizard produces.

The planning is underway for a trip next year. As always, the ticketing/hotel situation may screw us, but, if it does, we've discussed a "Plan B," which would be the New York Comic Con. Which does not have the rabid, "I gotta go" craziness of SDCC, meaning you can get tickets without sacrificing a goat, but still would offer a trip away from home. Now places to explore, people to meet, etc, etc.

Part of the problem with C2E2, honestly, is that it just doesn't have that, for me. Because I live here. When I drive home, the fact that I CAN drive home, tends to move me into a more insular experience. I don't feel like I'm in a place where I can, and should, wallow in the experience.

But, yeah....I am deeply envious, downright jealous, honestly, of anybody in San Diego right now. I wish I was there.

Music Project Update - 7.9.2013

The Cliffs of Moher is done.

After a rather agonizing few hours trying to figure out a working vocal line, I worked it out. Which is strange, as this is a song I've actually been playing and singing out loud. It should've been a relatively easy vocal to cut. I think it's a excellent example of the "think too much" problem. If I'm playing Cliffs of Moher and singing, I'm acting instinctively, and have no time to self-criticize or second-guess. It just happens, and it's over.

Standing at a mic, with nothing to do but sing, and listen to myself in the headphones...all I can do is self-criticize and second-guess. I am not a strong vocalist, this much is certain. However, I think I can pull it off to some extent. Maybe vocals will always be the albatross around my neck.

I don't really care anymore. I've been listening to some "professional" records that I find quite good, notably ...For the Whole World to See by Death, and Kadaver by Kadaver, and the vocals are pretty murky and buried. Which is usually my fall back when I'm not confident in the vocal track. Sometimes you just need to make it happen, and, right now, that's where I'm at with Hayoth.

It just needs to get done. I've been fucking around with this material for too Goddamn long.

Next up is a track with a working title of Zep. It started with a chord progression that reminded me of Ramble On, and began it's life in a Hard Rock Hotel room on the "Led Zeppelin" floor (back when the Hard Rock Hotel offered "loaner" guitars to guests - maybe they still do, I don't stay there often). Now, I don't pretend to be anywhere close to Zeppelin, but I am working for the "light and shade" feel that dominated Zeppelin recordings. The idea is acoustic/clean electric verses, and heavier, distorted chorus parts.

The basic guitar track is done, kind of. As I start working on putting the drums on the track, I'm thinking it needs to be revised. I think the bridge doesn't really work, and the transition into that same section is muddled. It's always been my intention to re-do the foundation guitar tracks after the drums, which will be easier to play to, but I need the music there to help guide my drumming. The fact I'm not the greatest drummer in the world doesn't make that easy. The slopped transition into the bridge just makes me grind to a halt every time. Plus, I think the bridge should just be simpler.

So, yeah...back to the drawing board.

Still, I think this is a good place to be. After Zep will come a series of mostly direct rockers. More along the lines of MonkeySex, but hopefully not as dumb.  The drumming will not have to shift tone and feel so much. My hope is that, after the tonal shifts of Zep, the drumming will move easier.

Although, Getting Dollars Back itself is still out there, waiting.  I'll probably put it off to the end, because I tend to think it's going to be a bitch to put together. Still, it's also my favorite riff of the whole project.

I also have to grapple with the lyrical content of Zep. I've made several runs at it, but nothing's felt exactly right. My hope is that once I get the music set and worked out, I can go over my notes and concepts, and find the proper words and melody.

Of course, I also still struggle with the whole concept for the project. I often find myself thinking that Typographic Worker's Trade Union is just a better band name, and that the album artwork set for that would be cooler and more exciting. That, of course, is really just idle musing. I'm a LONG way from being ready to deal with packaging. Yet, it does nag at me.

Hayoth is from Jewish myth, not to mention DC Comics, with some religious and political connotations. I just thought it was cool sounding. I'd hate for someone to take offense, of otherwise apply some sort of meaning to it that I didn't intend. I'd rather just have it be fun. Maybe dumb fun, but fun.

But, like I said those decisions are a LONG way off. My original goal was to have something "released" by my birthday. That is pretty likely NOT going to happen. Much like with Where Have All the Heroes Gone, I expect to shift it to the end of the year.

That One Damn Song 2.18.2011

So, I missed this last week, but I have been working...I've got three tracks in various stages of work on disk, and the three other tracks I've had in waiting, plus I've got about three other songs moving rapidly in the writing stage. Conceptually, things are really moving quickly, but (as I think I've said before) the sheer flexibility of the new equipment has got me re-arranging and re-working well past where I would ever have before.

That said, I didn't have any time this week to record any monitor feeds. No ear candy for y'all. Mea culpa.

I'm beginning to understand what happened to Axl Rose with Chinese Democracy. Especially when tinkering costs me nothing. I can cut and re-cut, and re-cut...who cares?

Not like anyone is waiting with baited breath. Although, I do have my personal deadline, which I will stick to.

"Zep" is actually in pretty good shape, at this point. I basically did what I laid out in the last entry. There's now an acoustic bed under the entire song, for the most part, and I've succeeded in cleaning up the entire performance, I think. The "riff" section is now just bass, all the guitars were taken out. (No having to slam down the faders in mixing.) At this point, I have to go back and do the vocals and the guitar solo, which are always the last steps for me, and get Paul to lay in the final bass track(s), of course.

I was trying to not lay down any bass for these songs, since I had someone who is an actual bassist willing. Problem is, I want to hear bass of some sort when I'm working on guitars. It just makes things easier for me.

"Tobacco & Lotto" is pretty far along, I even got the vocal line down. Frankly, the step up in my equipment really hit home during that process. The new Tascam simply cuts much, much cleaner tracks, and offers many, many more effects options. I put an exciter mic effect on the input, and I've never heard my voice quite like that. I'm gonna need to "dirty" it up a bit, it's just that kind of track, but I certainly got a "pop" on the vocals I never had before.

The lyrics on this track also finally came together pretty damn well. I found a nice rhyme that tied into the title, and the direction I wanted to go thematically. I think I need to work on how I'm singing the chorus, but otherwise I'm firmly convinced it'll work well. I doubt I'll ever put up a snippet with vocals, as I just don't trust my voice enough without the full mastering "fix."

"Reason," which is the oldest tune in this particular recording project, is In the shop for a re-think on a riff that shows up before the first verse and for the bridge. It was a pretty pure "metal" riff, chugging on the open E string, with a little run, or power chords thrown in every two measures. Frankly, after playing it a few times, it bored me. So, I came up with something a little different for that section. I haven't actually recorded it yet, but it's worked out in "dry run." I expect to have that done this weekend, sometime.

Like I said, some new songs are in the process of being written. Last night on the train, I got really excited because I managed to scrawl out some really nice lyrics using a turn of phrase that I've had hanging around for a long time. Since before this project started, actually. It's a line I love the sound of, but I could never really work into a catchy wordplay.

I write lyrics on the train a lot, pretty much every lyric I've ever put to paper has come to me on the Brown Line between Belmont and Damen. Now, a lot of that has been crap. As with anything you put to paper, the vast majority will not work, but I've been chasing a flow for lyrics that has really eluded me since I was writing for my fist CD, Hourglass 34.

Those acoustic numbers seemed to come a lot smoother than anything I tried to put together for Where Have All the Heroes Gone? Granted, the second disk was me trying to be a lot more simplistic in my lyrics, but I think it got away from me, and just turned dumb. What was nice last night was that the words just started to present themselves, like in the old days. Made me feel good.

If I can get it done, I may have an addendum to this post over the weekend, and put up some more monitor feed samples. Much thanks to any of you that bother to read this stuff, I know it can be a little dry (especially without samples).

That One Damn Song - "Zep" Revisited - 2.3.2011

So, my office closed early on Tuesday, and was closed completely on Wednesday. This gave me the opportunity to work on "Zep" some more. I even managed to get a sample of what I did up on soundcloud.com.

Now, before you listen, a couple of disclaimers. These should be noted and logged for any "work in progress" samples I share on this blog. I recorded this by hooking the 8-track to the monitor feeds on the 24-Track. It is an on-the-fly mix, very quick and messy. No mastering tools were employed. It's as raw as it possibly can be.

Today, we're looking at the track with the working title of "Zep," again. I've discussed the genesis, and a bit of my work on this song in this previous blog post. I thought I'd revisit it again with a sample. Frankly, the Zeppelin connections aren't as obvious with the example below, but I think there's a reason for that, other than the fact I'm no Jimmy Page.

In this particular example, you have 4 tracks of guitar, 2 clean, and 2 with a bit more distortion (though this section doesn't really get to the distorted part). These were all electric, my Fender "Fat Strat" Stratocaster through my Line 6 combo amp. I have 2 very temporary bass tracks, one clean and one with a bit more "boom" in the bass end. These were done with my (ultra cheap) Yamaha Bass, directly into the recorder, with a Line 6 POD X3 Live providing tone and amp emulation. The drum tracks are a stereo feed from my drum machine, bounced twice. So, a total of 6 tracks with drums, panned and EQ'd to give me some bit of control over the bass, mids, and treble.

"Zep" Sample by mpjedi2

My Verdict: Oy, it's a mess.

It's a classic case where, as I was putting it together, I felt like it was going pretty well. It seemed like the parts were working, but when you play it all together...sludge.

What immediately jumps out is the lack of acoustic guitar. I mean, the main E-B-A riff/progression was originally written on acoustic, and the brittle nature of the electric tones makes it feel kinda harsh. I think what's going to have to happen is an acoustic throughout, just playing chords, and then laying in the lines, runs and "twiddley bits" with an electric. It'll take some time, but the more I listen to this, the more I feel like I have to cut back. Streamline the entire arrangement.

One thing that is becoming clear, as a learning curve with the new equipment, is that I have a lot of options to play with in the mastering phase to get what I want. I layered guitars in this sample because I wanted them to feel "bigger," but applying some compression to that track in the mastering process might give me the same effect, without the "muddying" that trying to overdub can create. I mean, a perfectly synced overdub is pretty much impossible, no human can play a guitar part EXACTLY the same way twice. It just doesn't happen. Natural variations are part of the deal.

What's probably going to happen on the next pass is acoustic run for the main riff, then, as we go into the verse, proper, play the E-B-A progression in rhythm, and lay the electric over it, holding the single root notes. Then as we repeat the riff, again, rely on the acoustic but hold the A. Then I can use the clean electric to add the B - F# "twiddley bit," and the D into A run that leads into the repeating G-A, then C-G-A that ends the verse. That last section will likely be doubled on Acoustic and Electric.

I am very happy with the chorus, which I simplified for this run at it. I think it works much better than what I was doing before. It's cleaner, and it still carries a bit of power. I also really dig the alternate more driving riff as you go into verse two (near the very end of this selection), playing it just on the bass really seems to work, and gives it a new dynamic.

"Zep" is definitely a track that's going to take some work. Much of the other material (so far) is more straight-ahead rock stuff. The main riff is far more textured than what I usually come up with, with lots of ringing strings and insert notes. I think it sounds really great until I start to amplify it, then it becomes a real trick to find the right tone that will give it some oomph, but still allow those ring notes to sound clearly. By pulling back to a more acoustic sound, I think I may lick the problem.

I'm hoping to share this sort of stuff at least once a week moving forward. If you have any comments or criticism, please don't be afraid to speak up. It is a work in progress, and I hope it'll sound much better as I work through these issues.

Also, it probably goes without saying, this music is my creation and intellectual property, so please respect that.

That One Damn Song

Prepare ye all for yet another "new album update."

So, since the world of 24 track home recording entered my life, I've been engaged in a battle with the forces of perfection. I had about seven or so tracks that were worked out and recorded on the 8 track, and I felt the best course of action was to re-record all of these in 24bit, using the 4 track. No, I don;t expect to use all 24 tracks on these, but the setup allows a lot more mixing control, and mastering tools.

Anyway, I've gone over that all before.

Generally, this has gone pretty well. Although, I find myself much more apt to scuttle everything and begin again with the new system. I'll be working on a tune, and suddenly I'll get an idea about moving the drum track around, or a new arrangement, and I'll just figure "what the hell," and send what I have done to the round file. I've got Paulie C (of the world-semi-famous Hired Goons) on tap to do basslines, eventually. My plan is to run recordings of the songs as I've got him, so he can learn them, and we can get a whole slew done in fairly rapid order.

Side note: it is rather odd to have someone else set to work on this stuff. I've grown so used to just doing my own thing, and working alone. Yet, it's also exciting to have outside input and ideas, or even just someone that doesn't play like I do. I've also hatched a sorta bone-headed plan for how I might be able to get a live drummer on these tracks, but that's months down the line, a very "maybe it'll pan out" element.

Anyway, as I say, I've started really going over these songs again and again, trying to really hone them as best I can. There's two that have really just worked out pretty beautifully, so far, and a group of four I haven't really dug into yet...

Then there's "Zep."

"Zep" sprang from a progression I came up with when CByrd and I, via a Groupon deal, spent a night at the Hard Rock Hotel in the loop. Hard Rock Hotels, if you don't know, have this "check in, rock out" program, where you can rent Gibson guitars to use in your room. I had hoped to get one of the Les Paul goldtops, but, alas, all they had left was an acoustic (really nice one, but whatever). I found myself sitting in the room messing around with this guitar, and the headphone amp they sent with it. I came up with this E-B-A progression that, to my ears, sounded vaguely Led Zeppelin-esque. (I'm sure I drove CByrd nuts) I should also mention we were on the Led Zeppelin floor, and the idol/totem/sculpture thing from the cover of their Presence album was in the hall by the elevators.

Anyway, I started messing around with this progression, and worked out a little riff to go with it, as well as a chorus bit, and filed it away to work on later. I tend to do this a lot, at the moment I have two song ideas that I have to run through every time I pick up the guitar, because I haven't started recording them, or written them down. Foolish, yeah, I know. It took me a few hours of trying to remember "Zep," too.

This?

The fact it had a Zeppelin sound, in my mind, made it really perfect for the current recording project. Which, as you've likely heard before, is inspired by a 70's hard rock sound. I don't know if I'll actually get there, but that's what's on my mind as I write and record. I have a sneaking suspicion that it'll end up more metal as I go along. Still not really sure what to call it, "Hayoth" or 'Typographic Workers Trade Union." Maybe I should put a poll on the blog.

Or this?

Anyway, "Zep" is turning into "that song," the one you work, and re-work, and re-work, and you wonder if you're not killing it slowly. The original riff I had attached to the progression ended up sounding pretty one-note, and also seemed to demand a much more aggressive, distorted sound than I really wanted to go to. I mean, the progression reminds me (and by no means do I think it's this good) of the opening acoustic part of "Ramble On," and I've tried it on acoustic a few times. I mean, it was written on acoustic, but finding the right tone and sound proved difficult. Plus, I want it to build in power, and move to a more distorted tone.

I've already made a lot of choices that do seem to work. Ejecting the riff section ended up being, I think, the right choice. I decided to use the Stratocaster over the Les Paul, and the brighter, cleaner tone is really working with the tones I'm using on the amp. The progression kinda demands the brighter, cleaner sound. There's a number of single notes, and nuanced chord adjustments that a heavier tone just buries.

that said, not I'm wondering if I shouldn't work out a more direct, heavier version of the verse and have the song switch up for one refrain of the verse. It's a technique Zeppelin used, and it certainly gives a song a dynamic burst in the middle. I'm thinking I want to play around a bit in that direction, even if it means I'll have to re-do the drum track from scratch. It'd be a lot of work, but I do have the time, my target "release date" for the finished product is my birthday, which isn't until August.

However, in all of this I can't help but hear the words of "Little" Steven Van Zandt...a song should take about six minutes. Every time I start trying to layer on guitars, and try to work in dynamics with tone and equipment, I wonder if I shouldn't just set a tone (I've found a lovely 70's phaser sound that works well), and play the whole thing through. Maybe a couple of overdubs, and just keep it simple.

Am I killing what is a nice little tune by over-thinking everything? I guess time will tell. I was going to include a snippet of the song in this blog, but I just didn't get it put together and uploaded in time. I've found a nice site, soundcloud.com, that will allow me to upload samples of what I'm working on, which I can embed in the blog. I originally was intending to keep this psudo-"band" project under wraps until it was finished, but, y'know, what the hell? I really like the stuff I've been working on, and, while I'm not going to share any complete songs until it's all done, I do what you to hear things as they come together. Sorry I didn't have my crap together for this entry.

In other musical news, I got my Les Paul studio "set up" at a repair shop over the weekend. Essentially, it's setting the intonation and string action, etc. etc. The strings are definitely lower to the fretboard, but I'm not hearing any buzzing or "fretting out," which is cool. It's different, and I'll have to get used to it. That's not a bad thing.

The tech also cleared up a problem I'd been having with binding at the nut (the plastic or bone bar just under the head that holds the strings to go down the fretboard) with the 3rd (G) string. It was catching the string as I played, and not allowing it to slip easliy back into tune after a bend or hard strum. I'm hopeful this work is gonna resolve that. It wasn't a huge problem, more of an annoyance. The intonation work ought to make it easier to tune, as well.

I love the guitar. It's got a great chunky, full, fat sound, and I'm looking forward to seeing if the "set up" helps with the little annoying issues it would give me. The process is advertised, in general, as helping with all of them.