Category: In The Studio

  • End Of Summer

    End Of Summer

    We’re quickly coming on the end of summer.

    If the trees are any indication, we’ve already hit fall. If you’re a student, summer has ended as school is back in session. Which means you’re summer romance, the fling of your life has also recently dissipated or is about to dissolve into the ether.

    Enter my new single “Till We Meet Again“, a candid song about those loves we’ve had in life that we hope to rekindle somewhere down the road.

    Till We Meet Again

    The journey of this song is one of several start and stops and finally a go.

    Originally the intent was to write an upbeat tune for a TV show and for a library. I pulled in a bass player friend of mine to co-write it with me. However, there was a bit of miscommunication and he got miffed about the situation, which ended the direction of the song as I had envisioned.

    Next I approached another bass player friend of mine, Jesse Stern, and we started working on the music. As a direction it was still to be a library track, however as we got going with it, lyrics started pouring out. He was going thru some dark stuff and was spitting out darker lyrics. Musically as it was speaking to me it had to be a bit more positive, maybe a little more longing. Suddenly we got a song that embraced all of that along with the sounds we were laying down.

    During the process of the demo we got to a section of the song and were discussing how to change one bar for it’s time signature. We spent a good deal of time trying to work out if we’d stick to the song’s common time signature (which happens to be 4/4), or go with either 7/4, 6/4, or 5/4.

    Multiple different drum fills were tried out. It was a songwriter’s producing exploration into the wild blue yonder until we finally settled on one particular fill in 5/4 that provided such a sly feel to the section of the song that it was as natural as an organic ripe tomato.

    Tracking the occurred in several studios. Namely mine for the acoustic guitars, synths, additional background vocals and drum programming. Yes, those are programmed drums. Jesse’s studio was were the bass was tracked and some additional synths as well. Finally the vocals were tracked at George Leger’s studio (Utopia Parkway Music) when it was located in Los Angeles.

    One moment during tracking stands out to me. At one point George turned around in his producer’s chair to show me his arms. The hair was standing straight up. He says to me, while Jesse is sitting there:

    “This is your Purple Rain. You’re giving me goosebumps.”

    Chances are you don’t know George. He is a massive Prince fan. So much so, that he once took me to see Prince perform when I was down in the dumps going thru some tough shit in life. It was a shining moment. I digress. George was so taken aback by the vocal we were laying down and the quality of the song that he felt it would be my equivalent to Purple Rain. My reaction was “I sure hope you’re right.” Damn right, I’d love to have a song be as popular as Purple Rain. Hell, even half as popular would be ideal.

    Another memorable moment came when George first noticed the bar of 5/4. He asked who the drummer was that recorded the part and who came up with the fill, he thought it was amazing. When I responded with, I programmed it, he thought I did a hell of a job. Very few people notice because of how natural it feels, it doesn’t feel like a bar of 5/4. This prompted a discussion between myself, George and Jesse, mainly because it was George who originally gave me the idea of adding an odd measure in a song.

    After getting all the vocals tracked, George and Jesse also sang some backgrounds. Once back in my studio, I felt I needed some additional voices for the backgrounds, so I enlisted the help of Val and Julia to sing some more parts.

    George and I tackled the mix and eventually George did the mastering (as he’s also a fantastic mastering engineer as well).

    Now it’s finally been released and is ready for your listening pleasure. I hope it gives you goosebumps like it did for George. Cause that would mean you’d tell others they need to hear and playlist it, like you will.

    More music coming soon.

  • The G League

    The G League

    The G League, I wonder how many fans of the NBA are actually aware of it?

    Changes

    There’s a few new changes in the basketball world in this past year. Actually since roughly February of 2017. Prior to that the NBA’s development league was known as the D League. Now in a multi-year deal with Gatorade its known as the G League.

    Another change is the number of teams. Previously there were 17. The total now is 27.

    Why do I know this

    I wrote a song called Do You Want To Play that has multiple versions of the song. Like lots of multiples. I’ve done versions for basketball, baseball, football, and hockey.

    Once I completed them I wasn’t sure that I’d ever pull them out again. However, the change of the league name to G League and all the additional teams left me with a gaping hole. So I dug it out.

    Newer Process

    My recording software has been updated substantially since I last worked with the song. One of the handiest new features is something called Track Alternatives. Which gives a producer the means to make edits to little portions of an audio without increasing the need for plugin load, or massive track counts.

    I took the needed vocal file for most of the song and clipped out where I needed to update team and G League parts. This made it real easy to quickly sing new parts.

    New Mix

    A side effect of doing parts for the G League is a new mix. Much like the updated recording software, there are also updated plugins. All this led me to saying, I don’t want to do a whole new mix, but alas, I couldn’t stop myself.

    After getting the original files transferred into a new file template, it really made sense to just do a new mix. I was able to get a crispier sound on the guitars. A little more punch and depth to the drums. There’s a bit more sizzle on the vocals and the bass gets a little deeper in vibe. Its crazy how a little adjustment in a song mix can alter the feel. These are subtle changes individually, but together it adds up.

    New Master

    Along with a new mixes for the G League, I have to do new masters. In case you’re not aware there is a process called mastering that provides a song recording with its final sheen and gets it to sound good on a variety of sound ups.

    In the couple of years since the last compilation release, the state of music delivery changed drastically. Now instead of a single master meant for being super loud on a CD, there’s one master for Apple Music (and services that operate at -16LUFS, that’s a relative volume level for the laymen out there) and there’s a master for Spotify (and services that operate at -14LUFS).

    Yes, I’m that bizarre that I do specific masters for the service the music is going to. I do that so that I’m not left wondering what the music is going to sound like based on automated volume level changes that occur to meet those service outputs.

    All it really means is that the music will sound more dynamic.

    Goals

    I’m currently doing all the master outputs as I’m writing this. Listening intently for any output errors. Thus one goal is to make sure I release this set of songs before the next season starts. Thus if you’re a fan of any team in the G League, I do hope you’ll stream your team’s song.

    Looking into contacting Gatorade’s marketing team, as I do have an advertisement idea as well.

    Oh and I’d like to get in touch with various team’s marketing departments to talk about doing a pregame performance of the song for fans of the team.

    Looking forward to the G League’s season later this year!

  • Vocal Experiments

    Vocal Experiments

    Now that I’m back in the studio, there’s been a desire to do some vocal experiments on my part.

    Signal Chains

    One of the things that producers worth their salt will do is experiment with different combinations of gear. Though there’s still some bronchitis to deal with, I have been getting a few hours here and there to try out some new signal chains and see how they affect the sound of my voice.

    Thanks to modern technology, its actually extremely easy to try out a much wider range of gear without the insane costs. Thank you Universal Audio and the Apollo system!

    Vocal Experiments

    There’s a project for TV music where we’re in the final phases of recording and mixing. In this project I’m spending some time to run some vocal experiments to hear the differences of what comes out. My most recent chains have included and API vision strip into an LA-2A. Then the absolute newest chain has been a Neve 1073 into a Studer Tape Machine followed by an LA-2A. Each lends itself to a different vibe. Don’t think I don’t realize that those gear terms likely all sound greek to you. They’re all geek to me!

    vocal experiments

    The image above is of my current favorite. What makes it strange is that when I solo a vocal recorded with this chain, it actually doesn’t sound all that great to my naked ear, but in the right track… It causes the vocal to sit like I can’t believe. The ultimate in vocal experiments, when you think the sound is bad, but its oh so right for the song.

    Daring Covers

    Along with the plethora of original tunes for this project are 10 cover songs that are so different from the originals that it may blow your mind. Hell not even may, they will blow your mind. A few of them are very different vocal experiments for me. It all comes down to figuring out the right way to present each song so that it has the right twist to give the song a double entendre.

    And therein is my one reason to ever do a cover, to give it a new meaning!