Category: News

  • 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.

  • 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.