Author: Jody Whitesides

  • Love Analog Embrace Digital

    Love Analog Embrace Digital

    As a musician, I love analog but I embrace digital. Actually I don’t just embrace digital, I love digital as well.

    It amazes me that there are still people who will bring up the Analog Recording is better debate. I get it. You can’t let go of your past.

    I’m fortunate enough that while I started recording in a bedroom with a TASCAM portastudio, you know the ones that recorded 4 to 8 tracks on a cassette tape, I quickly moved to digital recording as I saw the future. I learned oodles about recording and noise, thanks to that old portastudio. Hell, I have 100s of cassettes that I should transfer into my computer. Though at this point I would have to borrow a working portastudio as I gave mine away to a budding musician. She never gave it back.

    Another reason I don’t go digging thru those old tapes is that it would only be a reminder of my beginnings, I highly doubt any of those recordings would ever be salvageable.

    I never released any of my song recordings done on tape. All recordings I’ve released were all digital recordings.

    However, I have worked on other people’s projects that were recorded on tape. Some sound great, some, not so much.

    I quickly moved to digital recording on a computer as soon as my budget allowed me to purchase an audio card. I was limited to 4 tracks, but what a difference it made in sound quality from a portastudio to a computer. What I discovered though was that digital is not forgiving like tape – it was a mirror image of what you fed it. There was no magic vibe automatically created by digital recording.

    So I learned that you have to give digital exactly want you wanted, otherwise you’d get disappointed. That made me more determined to make sure I understood how to perform and record to get what I wanted.

    Recently I got into a discussion with another songwriter about recording formats. They came right out saying that digital sucked and analog ruled. Their claim is that 1’s and 0’s can’t supply depth to a recording.

    Spoken like a true novice.

    This particular songwriter claimed they wanted to learn what the differences were between analog and digital. However, with the opening salvo being that digital recording was already weaker, it made for a lame way to claim they were looking to start a conversation to learn such differences.

    Analog with Digital RecordingMy answer eventually boiled down to this:

    “The difference is mental. Entirely mental. If you actually believe you will achieve a better recording with analog gear – then you will. If you believe you will achieve a better recording with digital gear, then you will. It’s entirely a mental thing for the artist.

    In blind A/B tests, you will never know the difference. So why does it matter?

    What matters is the performance of the artist/band and the competency of the engineers.”

    They had nothing to hit back with.

    Of course it helped that other producers jumped in talking about the advantages to digital recording: Speed, ease of use, etc. One older producer went so far to say that one couldn’t pay him enough to go back to working with tape and all analog gear.

    Over the past several years and as recently as a month ago I’ve upgraded to newer audio interfaces. The most recent update is the Apollo 8p Quad. It gives me a bunch of additional processing power, along with enough inputs to now track full bands if I need to.

    As you know with my career, I’ve been an in-the-box guy for a long time now. I use a laptop (along with a specially designed midi pedal) for my live guitar rig too. That’s how in the box I go.

    Great recordings still require several things. An awesome musician or musicians to perform. A means to record. An engineer that understands those means. A quality mix engineer. A quality mastering engineer. These are things that are needed to get an awesome recording. It doesn’t matter if it’s analog or digital (they’re just means).

    It doesn’t hurt to have great microphones. It doesn’t hurt to have great mic pres. It doesn’t hurt to have a great room. It doesn’t hurt to have awesome outboard gear. Those things will enhance a recording, as long as they’re used appropriately.

    I love the idea of analog, but I embrace the beauty and ease of use of digital.

  • Let’s Just Go Hits The Road

    Let’s Just Go Hits The Road

    Let’s Just Go Starts Streaming Today

    My new single titled Let’s Just Go went live early this morning on all the major streaming and digital services. Think of being in a Tesla launching into ludicrous speed while having Gal Gadot riding shotgun as you go into the wild blue yonder. A whole lot of fun for the blacktop adventure that awaits for the summer.

    Listen Now

    TL;DR: For those who want to know more…

    A Little History

    A few years back I got invited to perform at a songwriter’s in the round event. I was placed on stage with some heavyweight songwriters who have written for acts you’ve heard of.

    Was I intimidated? No. Well… No.

    I had already met several of them before. But there was one guy who I hadn’t met and he had the biggest cred list of the bunch.

    Singing Songwriter meeting Let's Just Go co-writer
    Singing “All The Things” at a songwriter’s in the round. James Grey, Warren Sellars, and Keven Fisher to my left (picture right).

    Pre show I had asked the two I did know, James Grey and Warren Sellars, if they would play rhythm on one of my songs so I could go and kick into a solo. They agreed. Yippee!

    Soloing Songwriter before Let's Just Go was written
    Soloing over James, Warren and Kevin playing rhythm during “All The Things”

    Fortunately during the song the guy you see in the background Kevin Fisher also jumped in.

    After the set I was greeted by Kevin who came up and said “We need to do some writing together.” You have no idea how cool that made me feel in that moment.

    Forward A Few Years

    Kevin is a busy guy. We kept touching base but had a hard time finding time to connect to sit and write. Thanks to technology, we used FaceTime when I finally found an idea and we both had time to flesh out a song.

    Over the course of a couple of FaceTime sessions we cobbled Let’s Just Go into a full acoustic guitar and vocal tune that we both enjoyed. From there I took on the task of producing it into the sonic vision that would be released with me at the helm.

    Originally my girlfriend at the time sang the female backing vocals. Unfortunately things didn’t work out as planned, we split up and even more unfortunate – she’s not on speaking terms. Of course I made the mistake of not getting written permission to use her vocal. Mostly due to thinking I’d have permanent permission via marriage. You live and learn, right?

    That version of the song had Kevin’s publisher thinking we’d be able to get a car commercial. Exciting to envision.

    New Female Singer

    Rather than attempting to get someone with no desire to speak with me to agree to sign off on her voice, I opted to hire another vocalist and remove the ex’s voice altogether. Off I went to the local musician’s hang to ask around for quality female singers. This led me to Amy Lynn Whitcomb.

    There is the possibility you’ve heard of her. Provided you’re a fan of The Voice, or have seen the a cappella group JANE.

    I listened to the tracks she sent me as examples, in return sent Let’s Just Go over to her to see if she was up for it. Bingo, she loved it.

    We found a time for her to come over to the studio and replace the previous female vocals.

    Amy did an awesome job. She took direction and was even able to hit notes that seemed near impossible, you can hear a seriously high octave harmony in the chorus. That’s Amy, not a pitch shifter, I’m impressed. NAILED IT – would be the catch phrase I’d use.

    I sent the revised version to Kevin and he loved it. With two thumbs up from Amy and Kevin it was time to get it out to you.

    I’m excited to see the journey this song takes from here on out. Hit me back when you add it to your road trip playlists, I’d love to know.

  • 180 Turnaround

    180 Turnaround

    Life sure loves to throw a 180 turnaround don’t it?

    Tour

    If you hadn’t heard, I am to be going out on tour this summer. Opening for a significantly bigger artist.

    180 TurnaroundThe unfortunate part is…

    180 Turnaround

    Said act has disappeared into the ether, so plans have to be changed. I’m currently doing a zag when I was supposed to be doing a zig right now.

    Preparations

    See, I was anticipating being homeless for a good portion of 2018 and on into 2019. I mean that in a great way. The plan was to be out on tour for 18 months, initially kicked off with the aforementioned artist. Its not a state secret that it takes roughly 18 months straight of touring in order for an artist to gain critical mass.

    Band members were given setlist choices and had voted on their favs.

    Based on the scheduling that was planned for, I should have been in Los Angeles now starting several weeks of rehearsals. To make sure the show was as tight as can be and to work out all the parts for everyone.

    Said artist had requested that we were to be in the city of the first date of the tour a week early so that rehearsals could be done with their crew to work out the sound and the transitions between my crew and their crew. Smart thinking if you ask me.

    Speaking Without Contracts

    The drag is, I hate talking about projects before contracts are signed. This business is so erratic that its impossible to judge what is going to happen. We were to get the contracts for the tour in early February. Which meant we had a deadline for getting things in place in order to be ready to sign said contracts.

    In a 180 turnaround, there was a desire to make a soft announcement about the tour to companies that I have endorsements with. Which is ideal at the winter NAMM show that takes place in late January.

    I felt pretty darn secure in that my camp had gotten everything that was requested of us for the tour a week prior to NAMM. It didn’t hurt that there was a lot of communication happening between our respective camps. Thus I started leaking the tour plans to my endorsors. Introducing band members to them and helping band members to get endorsements with other companies that more directly related to their instrument.

    Going Modern

    Part of leaking the tour plan was to talk about how I was planning on doing the sound setup. A 180 turnaround from how its normally done.

    All band members, apart from the drummer, had agreed to use a laptop and an audio interface as their sound source for their guitar sounds and vocals. This was a great selling point for several companies I have endorsements with. Most bands don’t do this. Consistency of sound and ease of setup for soundcheck is the primary reason. It really reduces the sound person’s job to mostly dealing with the drum levels, as that would be the most inconsistent source of sound.

    With the rest of us going direct and using in-ear monitors it reduces a ton of the guesswork of sound. The guitar, bass, and vocal rigs would remain the same with very minor tweaks needed for levels and PA eq. That’s the beauty of the computer setups.

    I found a fantastic company to make a rack setup to house the computers and audio interfaces. Which would have made setup a breeze. Especially since we’d all be wireless. Pretty much plug in the power. Plug in the midi switchers (my custom HIVE) for switching sounds for songs. Then plug in the output of the band to the board. No mics on instruments to mess with, other than the drums.

    Support Changed

    It started 180 turnaround about a month ago. I began reaching out to other contacts to find another tour to hop on. I felt like something was wrong when the communication tapered off from the artist’s camp. That’s when I was asked to make a list of a bunch of other bands I felt would be a good fit.

    Bombs

    Then while in the middle of a writing session for another musical project I got a phone call from the point person putting everything together.

    The first thing I was told was that the agent who was dealing with the extra dates, between the weekend dates with the artist I was to open for, the press and radio stuff – decided he was going to quit music. BOMB Drop…

    Next up was the announcement that the person putting all the other moving parts together decided to also get out of the music business and become a preacher. BOMB Drop 2.

    One of the main contacts I had reached out to find other bands came back saying: I can’t find anyone else who is doing an actual tour. Everyone is doing one-off dates. BOMB Drop 3.

    Crater

    A few days ago I started informing people that I had told at NAMM that the tour had gone into the ether.

    The beauty is that everyone in the music industry can relate on some level. The pouring of support that I got back from people was certain uplifting. So many providing words of encouragement and some sending similar stories of things that have happened to them.

    Bright Light

    After the 2nd round of emails that I sent letting out what had happened, I got a call from an unlikely source who had contact with someone that had a cursory role before. Its a little early to tell but I’m encouraged about the initial contact.

    To be continued…