Thump Thump Thump
Thump Thump Thump
[intro]
Love ooh
Lah love ooh ahh
Love ooh
Lah love ooh ahh
[verse]
I lie awake in the middle of the night
Thinkin’ about a special kind of bunny
She’s gone and planted a wee little seed of light
That’s blossomed into a powerful tree
[pre chorus]
There’s a push and a pull
As the gears begin to grind
Turning the wheels in my mind
And like the little engine that could
[chorus]
My heart goes Thump Thump Thump
Pulsing with a Thump Thump Thump
Pounding with a Thump Thump Thump
My heart goes Thump Thump Thump
My heart goes…
Love ooh ahh
Lah love ooh ahh
[verse]
I won’t deny her affections excite
Spinning around my emotional wheels
My head inside it’s saying she’s worth the fight
That’s movin’ me up a hill that reveals
[pre chorus]
There’s a push and a pull
As the gears continue to grind
Turning the wheels in my mind
And like the little engine chuggin’
[chorus]
My heart goes Thump Thump Thump
Pulsing with a Thump Thump Thump
Pounding with a Thump Thump Thump
My heart goes Thump Thump Thump
My heart goes Thump Thump Thump
Hammerin a Thump Thump Thump
Slammin with a Thump Thump Thump
My heart goes Thump Thump Thump
[bridge]
If I miss a beat
I know she’s in the room
Cause I can’t speak
Though for her I’ve got volumes
[chorus]
Thump Thump Thump
Pulsing with a Thump Thump Thump
Pounding with a Thump Thump Thump
My heart goes Thump Thump Thump
My heart goes Thump Thump Thump (ooh)
Hammerin a Thump Thump Thump (ooh)
Slammin with a Thump Thump Thump (ooh)
My heart goes Thump Thump Thump (ooh)
My heart goes Thump
Song Length: 3:17
Writer: Jody Whitesides IPI/CAE 00196306650
Publisher: Too Much Music IPI/CAE 00456952518
Admin Publisher (Outside U.S.): Bluewater Music
Erez Gnat: Drums
Jesse Stern: Bass
Jody Whitesides: Vocals, Guitars, Synths
Recording Info:
Art Director: Gracie Chakor & Jody Whitesides
Photographer: McKenzie Truman
Photo Editing: McKenzie Truman
Cover Art Concept: Gracie Chakor & Jody Whitesides
Cover Art: McKenzie Truman
Recording Engineer: George Leger III – Utopia Parkway Music
Recording Engineer: Jody Whitesides
Mixing Engineer: George Leger III – Utopia Parkway Music
Mixing Engineer: Jody Whitesides
Mastering Engineer: George Leger III – Utopia Parkway Music
Vocal Engineer: George Leger III – Utopia Parkway Music
Producer: George Leger III
Producer: Jody Whitesides
Tracked entirely in Logic Pro with vocals tracked thru Apollo 8 silverface, guitars thru a MOTU 828mkII, bass into
Mixed in Logic Pro
Mastered in Logic Pro
Guitar(s): Prechorus arpeggiation: Grosh Guitar – strung with D’Addario Extra Hard Tension nylon strings. Recorded direct into MOTU 828mkII. Using a fender tweed amp sim with a rotovibe effect and some tube screamer distortion. There is also a stereo delay.
Chorus:
Clean Guitar Left: Jesus Joe’s guitar. Strung with Dean Markley Blue Steel .11’s in standard tuning. Recorded with an SM57 mic on GrooveTubes Soul-O amp and GrooveTubes Soul-O cab, which is a dual 10′ speaker cab. Into the GrooveTubes Vipre. Running into a reverb, phaser and EQ in parallel.
Clean Guitar Right: Desert style Fender guitar. Strung with Dean Markley Blue Steel .11’s in standard tuning. Recorded direct into the GrooveTubes Vipre. There is some Logic Guitar pedal FX: Squash Compressor, The Vibe (for rotovibe) and Blue Echo. Into a Logic Clean PreAmp. Into a MixIR Fender Cab.
Guitar Lick Crunchy: Diner Joe’s Guitar prototype. Strung with Dean Markley Blue Steel .11’s in standard tuning. Recorded with an SM57 mic on GrooveTubes Soul-O amp and GrooveTubes Soul-O cab, which is a dual 10′ speaker cab. Into the GrooveTubes Vipre.
Clean Guitar Single Note: Whitesides Viper 7 String Rosewood model from Joe’s Guitars. Strung with Dean Markley Blue Steel .11’s in standard tuning. Recorded with an SM57 mic on GrooveTubes Soul-O amp and GrooveTubes Soul-O cab, which is a dual 10′ speaker cab. Into the GrooveTubes Vipre.
Guitar Bridge: Parker Fly guitar (gifted to me by Derek Sivers). Strung with Dean Markley Blue Steel .11’s in standard tuning. Direct into GrooveTubes Vipre. Using PodFarm 2 from Line6.
2nd Guitar Bridge: Whitesides Viper 7 String Korina Wood from Joe’s Guitars. Strung with Dean Markley Blue Steel .11’s in standard tuning. Direct into GrooveTubes Vipre with Logic Amp sim.
Bass(s): 2009 Fender AV P Bass DI. Then re-amped into an API preamp and combined with the DI.
Jesse says: I like that I put so much effort into making this a great bass line, because listening back to this I really enjoy the bass line. I think I supported your voice and the groove well on this song.
Drums: The drums were recorded at Erez Gnat’s studio in North Hollywood.
The track listing is as such:
Kick Sub
Kick In
Kick Out
Snare Top
Snare Bottom
Snare sample from George Leger
Snare Sample from Logic Pro for more mid
Snare Extra Chorus Left
Snare Extra Chorus Right
Snare Bridge from RMX for additional sonic change
Claps Bridge Left
Claps Bridge Right
Hi Hat
Overhead L&R
Room L&R
Tom High
Tom High Pitch shifted 8vb
Tom Low
Tom Low Pitch shifted 8vb
Cowbell in the chorus from RMX
Vocal: All of Jody’s vocals were tracked using Telefunken C-12 with a UA610 and 1176 Limiter.
Synths: Piano: Beatles Tack Piano instrument in the first verse playing chords
Piano: Beatles Tack Piano instrument in the pre chorus playing bass line 8va
Clavinet: Logic Vintage Clav
Synth: Logic HS Force setting with a Tremolo plugin
B3: Logic B3 Heavy Metal Preset with tweaks
Sculpture: Logic Preset called distant memories. Used to add some spacial feel to the end of the pre choruses
Albino Synth: Thump sound for the start of the first chorus only
Albino Synth: Used to create a bit of a ‘popcorn’ sound for the chorus to mimic the distorted guitar line 8va
Albino Synth: Albino synth used to create a bit of a ‘popcorn’ sound for the 2nd verse to get a little more movement happening
Rave Synth: A pulsing synth sound to push the downbeat thru the chorus
Giant Piano: From Native Instruments, a sound to help give the Intro Redux a bit of difference from the original intro
ES2 Synth: ES2 patch that is used to play the melodic line from the 1st verse Clav, with a different sound. It’s doubled with a octave above that runs thru the whole 2nd verse
Pad: A pop strings EXS sample
ES2 Synth: ES2 Frenchie patch to give an extra bass hit on the downbeat of pre chorus 2
Wurlitzer: Logic Vintage Electric Piano doing a fluttery wurlitzer sound to provide additional padding in the 2nd pre chorus
Sculpture: An ambient pad from sculpture to give a bit of airyness to the 2nd chorus
Pro Bass 3: A quick deep pulse to go with the lyric ‘pulse’
Iris: iZotope synth to add a glitch bend into the 2nd chorus to add spice
High Voltage Transformer: A rising tone with a crunch to it to add strategic lift in 2nd chorus
JP8: A quick pluck sound to go with the slamming line but much less intense
8Dio Adagio Violins 1 Spicc on Bow in bridge
8Dio Adagio Violins 2 Spicc on Bow in bridge
8Dio Adagio Violas 1 Spicc Tapped in bridge
8Dio Adagio Violas 2 Spicc Tapped in bridge
8Dio Adagio Cello 1 Spicc on Bow Tight in bridge
8Dio Adagio Basses 1 Marc/Feather Spicc in bridge
Dark Synth Pad: A dark plinking pad sound to give a sense of mystery about the person
Albino 2: To give a quick punch to double the bass line in strategic areas in the bridge
Sonic Station Pad: A second synthy pad to add to the mystery type sound of the bridge
Shimmer Pulse: A crunchy pulse sound to go with the lyric line in the last chorus
Mini Pulse Bass: Another quick pulse to mimic a thump
Omnisphere: Breakout patch for a little pulsing sound to go with the lyric in the last chorus
Piano Vienna: From Native Instruments a melodic piano to play along with the vocal for a bit
Misc Instruments: Samples of my heart beat in the chorus
Samples of hammer strikes in the chorus with the word hammer in it
Song Story:
The inception of this particular song started with a vision about a random woman. Then it morphed into what my feelings would be toward this person and how it would make me feel. In order to get some of those particular vibes into the song I began to think about various sounds that I could layer in. It became a quest to see how much I could layer into a song during the production. Some might call it ear candy. I call it necessary to the value of the song.
As I was writing it it became part of a large group of songs (over 70 of them) for an eventual album. There was a lot f hoopla going on and I had investors starting to sniff it out after the previous album won some awards. Plus there was an added figure in the mix with Maurice Starr who could help propel the new music to the mainstream should the investors step forward.
I asked fans to vote on all the demoed songs and help me to whittle it down. Thump Thump Thump ended up being one of the finalists.
As things started to drag on with the business end of getting the record done, I began to see the change going on with the industry. I figured why not forego getting the whole band in a room to track the bones of the song? Which costs money, a good deal of money. My thinking was that it might be better to choose several of the songs for the eventual album to record them more piecemeal and put them out as singles.
That’s when my good friend George Leger III decided to step in and help out with some of the recording duties. He really wanted to work with me on bringing the songs to life. Especially with tracking the vocals. If you need a damn fine vocal engineer (besides myself), you want George Leger III. He’s quite good at getting a really great sounding vocal out of any vocalist. He’s worked with the best.
We tracked vocals on several songs over the course of a week at his Downtown LA Utopia Parkway Studio. We were also working with an early version of the Apollo system and the Universal Audio emulations. We paired my lovely C-12 with a couple of different setups in the Apollo. In the end with went with the C-12 into the UA 610 Mic Pre followed with the 1176 Limiter. It gave a great vibe to the song and really made the vocals shine.
Going back to the items I layered and methods I employed in the song. First, because it was piecemeal recording, I developed a click track to skeleton the track. Unlike picking a singular tempo and sticking to it the entire way – a common thing to do in modern music, I had it set to increase the speed in the chorus. I slowed it back down for the 2nd verse, then sped up again for the 2nd chorus, stay for the bridge, then when it hits the final chorus it slowly speeds up over time all the way to the end of the song.
The concept behind doing that was to imply the way my heartbeat will speed up when I’m in the presence of a significant other.
As mentioned in the instruments, I have samples of my heart beat layered into the choruses. To help with the beat and bring some real heart into the song.
It was labor of love for all those involved and I thank them immensely for all the help they provided. I dedicate the song to anyone who has a love in their life where it is difficult to express yourself sometimes and yet you can speak with them at great length. Don’t let nerves get in the way!
Factoids:
1. There’s a pretty wild effect on the word “grind” – more likely to hear it in the hi res wav file or on Apple Music.
2. See how many little “Ga Ga” style musical bits you can find in the song. I planted a lot of them.
3. The chorus speeds up. The ending chorus slowly speeds up even more over time.
Copyright: 2012/04/06
ISRC: USONR1400006
ISWC: T9218870394
SESAC Song ID: 14179328
Harry Fox ID: TVDFTJ
Harry Fox Publisher ID: P8938Q
UPC: 840096258400