Come with me as we give the Universal Audio Apollo a shootout at Utopia Parkway studio. My Avalon 737 was at the factory so we decided to give George’s Apollo a shot at being the mic pre of choice. We set up a couple of different channel strips to see which input path would give us the best signal for my Telefunken C-12 and my voice on my song “Thump Thump Thump”. It was down to a Neve with an LA2A and a 610 with an 1176.
[sarcasm]It’s riveting. So riveting. Especially if you’ve never been in a recording studio.[/sarcasm] Recording isn’t always the fun and games that people think it is. We do actually spend time figuring out exactly what the best course of recording a sound is. Time consuming comes to mind. Office managers determining a project’s work path is probably the best analogy. After that the real work begins. Laying down the musical parts.
Universal Audio Apollo Mic Pre
Thump Thump Thump recording
Testing mic pre’s.
Testing the Apollo mic pre. Okay Universal Audio.
I lie awake in the middle of the night.
Channel strip two. Well it’s actually one, but I flipped them around.
Well… we’re. It’s the second take on the channel strip on the Apollo.
There’s a push and a pull.
I lie awake in the middle of the night
There’s a push and a pull. As the gears begin to grind.
You know what? That, the 610 sounds more… rock-and-roll. If I was to put a… it has more “ah! to it” more ah.
There’s more meat to it.
That how, that’s how I would describe it.
It’s got more protein, more girth to it. Okay whereas the neve LA2A has a bit more of a refined thin thing.
Yes it’s interesting, I guess there’s a difference in the models. Cause it’s basically the same mic going through 2 different model emulations and they do sound different. Yeah. They are so hard core. I mean really truly. More hard core than most companies are. They want their stuff to be right. and they just really won’t stop until they are.
It’s the 610 76 that wins.
Okay, to give us the meat.
To get the song to ether.
There’s a tune that’s passed through my iTunes radio called “She Looks So Perfect” recently. The surprising thing is that iTunes Pop is saying that this band’s other single called “Good Girls” is the #1 on the chart. I’m wondering why the hell it is. Mostly because the first time I heard GG – I immediately was like who the hell would rip off Blink 182, RUSH?!?, Green Day and other pop punk bands so blatantly? I mean the riffs of the guitars in Good Girls were so obviously stolen it’s silly. I decided, who did it and found it was a band called 5 Seconds of Summer.
I was taken aback because I really enjoy She Looks So Perfect. It’s got that typical teen angst anthemic quality – retaining a very familiar vibe without being so blatant of a rip-off. My favorite line in the song is “She looks so perfect standing there in my American Apparel underwear and I’m so down; Your lip-stick stain is a work of art I got your name tattooed in an arrow heart and I’m so down.” It’s pure fun and I dig it. It’s a perfect beach/summer romance. My only hope is they’ll branch out into their own thing.
She Looks So Perfect
Hey, hey, hey, hey
Hey, hey, hey
Hey, hey, hey, hey
Hey, hey, hey
Simmer down, simmer down
They say we’re too young now to amount to anything else
But look around
We worked too damn hard for this just to give it up now
If you don’t swim, you’ll drown
But don’t move, honey
You look so perfect standing there
In my American Apparel underwear
And I know now, that I’m so down
Your lipstick stain is a work of art
I got your name tattooed in an arrow heart
And I know now, that I’m so down
Hey! Hey, hey, hey, hey
Hey, hey, hey
Let’s get out, let’s get out
‘Cause this deadbeat town’s only here just to keep us down
While I was out, I found myself alone just thinking
If I showed up with a plane ticket
And a shiny diamond ring with your name on it
Would you wanna run away too?
‘Cause all I really want is you
You look so perfect standing there
In my American Apparel underwear
And I know now, that I’m so down
I made a mix-tape straight out of ’94
I’ve got your ripped skinny jeans lying on the floor
And I know now, that I’m so down
Hey! Hey, hey, hey hey
Hey, hey, hey, hey
You look so perfect standing there
In my American Apparel underwear
And I know now, that I’m so down
Your lipstick stain is a work of art
I got your name tattooed in an arrow heart
And I know now, that I’m so down
Hey! Hey, hey, hey, hey
Hey, hey, hey, hey
Hey, hey, hey
You look so perfect standing there
In my American Apparel underwear
And I know now, that I’m so down (hey!)
Your lipstick stain is a work of art
I got your name tattooed in an arrow heart
And I know now, that I’m so down
Enjoy your summer kick off!
The other night I heard Blaze of Glory while watching a Mark Wahlberg movie called Pain & Gain. I remember seeing the movie in the theater, but I decided I’d put it on in the background. It’s a crazy ass story, but there’s a point in the movie where Bon Jovi’s tune Blaze of Glory comes on during a botched safe break in. I started to laugh strictly for the fact that it’s starts the whole sequence of them going down in a blaze of glory.
After the movie ended I decided I had to hear the tune again. I recall seeing Young Guns and really enjoyed the “cowboy” rock style of the Bon Jovi. Mind you he did have a bigger hit with Dead Or Alive which is an 80’s power ballad that’s still a staple in bars across the country to this day. I felt it prudent to pass along the song here because it’s still a pretty rockin’ tune and has a great melody. So thanks to Michael Bay for Pain & Gain making use of the tune.
Blaze Of Glory by Bon Jovi
I wake up in the mornin’
And I raise my weary head
I got an old coat for a pillow
And the earth was last night’s bed
I don’t know where I’m goin’
Only God knows where I’ve been
I’m a devil on the run
A six gun lover
A candle in the wind, yeah
You’re brought into this world
But they say you’re born in sin
Well at least they’ve given me something
I didn’t have to steal or have to win
Well, they tell me that I’m wanted
Yeah I’m a wanted man
I’m colt in your stable
I’m what Cain was to Able
Mister catch me if you can
I’m goin’ down in a blaze of glory
(Down)
Take me now but know the truth
I’m goin’ down in a blaze of glory
(Down)
Lord I never drew first
But I drew first blood
I’m no one’s son
Call me young gun
You ask about my conscience
And I offer you my soul
You ask if I’ll grow to be a wise man
Well I ask if I’ll grow old
You ask me if I known love
And what it’s like to sing songs in the rain?
Well, I’ve seen love come
I’ve seen it shot down
I’ve seen it die in vain
Shot down in a blaze of glory
(Down)
Take me now but know the truth
But I’m going down in a blaze of glory
(Down)
Lord, I never drew first
But I drew first blood
I’m a devil’s son
Call me young gun
Yeah
Each night I go to bed
I pray the Lord my soul to keep
No, I ain’t lookin’ for forgiveness
But before I’m six foot deep
Lord, I got to ask a favor
And I’ll hope you’ll understand
‘Cause I’ve lived life to the fullest
Let this boy die like a man
Starin’ down the bullet
Let me make my final stand
Shot down in a blaze of glory
(Down)
Take me now but know the truth
I’m going down in a blaze of glory
(Down)
Lord, I never drew first
But, I drew first blood
I’m no one’s son
Call me young gun
I’m the young gun
Young gun, yea eee yea
Young gun
Have great gain of a day!
It’s not often where you’re in a studio talking about a drum fill. At least not often where you’re proclaiming you love it. This is precisely what happened during a moment in the recording process of Till We Meet Again, a song written by myself and the awesome Jesse Stern. We’re in the studio doing vocals with George Leger III when George blurts out something entirely unusual for an engineer / co-producer.
Talk about getting caught off guard, especially when drumming is like ESL. I remember wanting to be a drummer when I first wanted to learn an instrument. However that got nixed by my mom due to saying it would be too noisy. Instead I got a guitar and an amp. How much noise did that make? A whole lot more.
Imagine my surprise when a drum fill part I created elicits a response like what I get in the video. Of course the most polite response is what I gave, but seriously, in my head I was like – hey! I did that. Maybe I should have been a drummer first. What a different world I’d be in if that had been the case. I might not be the songwriter I turned out to be. Who knows, I could have become an on call studio or touring drummer. Ah, who am I kidding – I love the musician I am, but there are times. Times when I do wish I were a better drummer.
Drum Fill Love
Transcript:
I said I love that drum fill!
Thank you.
Fuckin’ love it.
It’s a cool drum fill.
It’s totally cool.
I done did that.
Totally fuckin’ cool.
yeah.
I have to make that a Phil Collins thing somehow.
Get it to sound like it’s in a fuckin’ glass room or something bizarre.
Oh lord.
Aw, c’mon man.
Have you subscribed to my YouTube Channel yet?
In Love With My Car is probably my favorite tune about cars. I imagine it’s probably the favorite tune for many people that really like their cars. Why wouldn’t it be? It’s a cool rock song from one of the biggest bands in music history, Queen. I suppose I’m feeling a bit ready for this song today because I’m going through a period of needing to fix things in my car. I drive an Audi A4 Quattro. Little things are starting to fall apart, but I have a hard time parting with the car because it drives so well.
Yesterday the A/C decided it didn’t want to kick on. At least that’s what I thought it was. Instead in sussing out the situation, I discovered that the servo that controls the temperature wasn’t moving to change the temperature. Now it comes down to figuring out if it’s an issue with the control unit, or if there’s an electrical short. Mostly because I’ve been able to get the servo to move – thus it’s not bad. Ah the joys of cars. I’m gonna put another hour into it today, then I’ve got to get to making some music. Thank you Roger for an awesome tune.
In Love With My Car
The machine of a dream, such a clean machine,
With the pistons a pumpin’, and the hubcaps all gleam.
When I’m holding your wheel,
All I hear is your gear,
When my hand’s on your grease gun,
Oh it’s like a disease son,
I’m in love with my car, gotta feel for my automobile,
Get a grip on my boy racer rollbar,
Such a thrill when your radials squeal.
Told my girl I just had to forget her,
Rather buy me a new cartburettor,
So she made tracks sayin’ ths is the end now,
Cars don’t talk back they’re just four wheeled friends now,
When I’m holding your wheel,
All I hear is your gear,
When I’m cruisin’ in overdrive,
Don’t have to listen to no run of the mill talk jive,
I’m in love with my car, gotta feel for my automobile,
I’m in love with my car, string back gloves in my automolove!
Enjoy your car today!
Come with me inside RA Audio studios as we set up a Taylor Guitar’s K4 EQ. Here’s an outtake from the recording of my upcoming single called “Till We Meet Again” as Robert Navarro and I go through the pre-production of my Taylor 615ce. The amazing thing is that it didn’t take a very long time to plug in the guitar, plug in the K4, wire it to the pre-amp. Of course Robert and I spent a bit of time listening to several settings then proceeded to make a few minor tweaks. Then it was off the race, or rather off to the recording track.
Watch the video and find out what setting we used on my K4 EQ to get one extremely awesome sound for the acoustic guitars on “Till We Meet Again”. Yes, in the final mix down of the song I did use a combination of the K4 direct sound mixed with the KM184 Sennheiser microphones. Definitely a very awesome addition to the sound of great acoustic guitar recording.
Till We Meet Again K4 Setup
Transcript:
The whole concept of, what did I use for this recording? For Taylor Guitars website.
Right now we’re about to set up the sound for the direct sound coming out of the 615 that I’m going to record for “Till We Meet Again” into the infamous Taylor Guitars K4 equalizer.
And Robert and I, who is currently the owner of RA Audio, are about to set all of this up. He’s waving at you. And, get the sound happening. And then we’re recording through a couple of nice Sennheiser KM184’s that… [you’re welcome]
Thank you.
That I got for Robert. Uhm. So yeah, we’re about to do some pre-production on getting the right sound. Then we’re gonna do a track.
So let’s get started.
One second he says.
Wish I had a remote. Tink. Tink.
Ok, should I bring some treble down and the bass up?
That’s sorta nice? Well, I don’t want sorta. I want bad ass nice.
Back off a little on the bass. Ok, this is half of what the bass was when I raised it. So that’s a nice direct tone? Wow! No mid or anything huh?
Interesting.
So for all those out there in Taylor land who want to know the K4 setting that I just used. We’re probably talking 12:30 on the bass, on the low end. We’re looking at about 11 o’clock on the high. And the mids? Nada. Zero. Center all the way. The volume is set at medium, like right at whatever 12 o’clock is.
So the K4 is set, for the 615ce.
One of the things an artist will discuss during the recording is how they will go about singing a breakdown. Which is exactly where I’m about to take you in the following video. George Leger III (co-producer), Jesse Stern (co-writer) and I take a moment to figure out the correct way for me to be singing the breakdown in Till We Meet Again. Jesse takes charge to give a mental picture of an example that should give the right vibe.
What would you do?
Watch and enjoy!
Singing A Breakdown
Transcript:
Carry on.
This is the breakdown where you go out onto the key, that like goes out into the middle of the crowd. And you like, hold the mic stand.
And the band.
You hold the mic stand in your left hand and you get down on your knees.
Exactly.
And you’re just like…
Well then I should the carry on… Right?
Don’t. Do, do, what you would do in that situation.
I’m thinking, carry. Well I, I think it. A softer version of what the original was.
Don’t tell us. Just do it.
Yeah, yeah. Yeah.
Fuck it.
The age old dilemma for musicians going it alone without a record label often wonder how they can call attention to their music. Musicians working on surviving in today’s music business are attempting to figure out where things are going. The biggest issue is often what happens after they get the music written, recorded, and are ready to release.
If there is someone who had a more direct line on what did and didn’t work for musicians forging a path without a record label, I don’t know who it would be. The best source for such information is Derek Sivers. He created CD Baby. He helped to usher in the paradigm of the music industry with allow non-signed artists a platform for selling CDs away from their shows.
Derek ushered in another change when he gave CD Baby artists an avenue to get their music onto iTunes (albeit, he had a little coaxing from me as well). Which is still one of the better platforms to use for most non-signed artists to get their music onto iTunes, Amazon, Spotify, etc.
Derek wrote a book called “How To Call Attention To Your Music” and put it up on his website sivers.org as a free publication for any interested musicians. I recently decided to take a look at it and realized this book is in PDF format. Great format for a wide range of portability. However, many of us are now using more modern devices like iPhones, iPads, Kindles, Kindle readers, eReaders, etc. Thus I took a few minutes out of my day today to convert the book into EPUB format. That way, everyone who is interested in Derek’s sage advice can now read it in iBooks, Kindle, Nook, etc. Like it was a real book that can be paged through on an electronic device.
Grab “How To Call Attention To Your Music” EPUB format.
As per Derek’s page for getting the book, I’m making it available for others to have as well. I would really appreciate it if you would sign up on my email list (http://hearjody.com) if you grab this copy of the book in EPUB format. Mostly because it’s a cool thing to do for someone that took the conversion step out of making it easy to read on your favorite eBook reader.
Now go forth and rise above!
p.s. – welcome to May!
One of my first successful co-writes was All The Things with Greg Watton. It happens to be the subject of today’s post. Mostly because I thought it prudent to make a lyric video for it in an acoustic environment. The bonus is that you get to see and hear what I’m singing and how I played the acoustic guitar part in the song. It was written just before I had gone to a songwriter’s conference and it was one of several songs that A&R people from the major labels were interested. That’s always a shot in the arm to boost one’s confidence in what they’re doing. Greg and I have written a few other songs – but none have made to the airwaves yet.
All The Things Lyric Video
http://wp.me/P20RW6-35g
Lyrics & song by Jody Whitesides, Greg Watton
Ever since I was a kid Everyone picked on me
Growing up was the hardest thing For a boy with no self esteem
So I found a little place In the backyard of my mind
Disappeared without a trace Didn’t want them to find me
For every year that passed me by
There was less of me to recognize
I wish I made more room to grow
Instead I hid I didn’t know
All The Things that people say
All The Things that people do
Will bring you down When you let it get to you
All The Things that you don’t know
All The Things that make you fall
Doesn’t really matter When you rise above it all
Now that I’ve become a man You were there to walk me through
Facing each memory Of those who harmed me
Now that I’m trusting you I’ve started exploring everything
Emotions that may drown me Like a river pouring out-
(Chorus)
Finished with the words that hurt
Finished with feeling like dirt
No use living in regret
Instead its best to forget
(Chorus)
Enjoy yourself!
Today I’m finally getting around to changing the strings on my Taylor 615ce with a set of Dean Markley Blue Steel acoustics. After several live performances and a couple of recordings, including a cover of “Not A Bad Thing” by Justin Timberlake, it’s time I sit down and get my first impression of a new line of strings.
Sit with me as I take off some old flat strings that got played to death. Then watch me do things I don’t recommend doing with your strings.
Get tuned up. Stretched out. Ready to play.
Finally top it off with what my initial reaction is to hearing how Dean Markley Blue Steel acoustic strings make me feel. Rather what I think they sound like on my favorite acoustic guitar.
First Impression Dean Markley Blue Steel Acoustics
Transcript:
Sometimes your strings are flat and you need to change ’em.
First things first. Sexy, minimalistic packaging going on. Some kind of sticky thing. Inside we have a package. Sealed strings. Let’s open ’em up. Let’s find out what they’re like.
They come in two winds. They look like they’re kind of color coded. Better read the packaging. High E, is black. The B string is blue. G string is black. D string blue. A string black and low E string, blue. Alternating color scheme. I’m using medium acoustics. Thirteen through fifty-six, my favorite kind. De-tune strings. Get ’em off. Here we go.
Low E string if I remember correctly that is going to be black. The B string. Agh. I can tell you right now that they don’t taste very good. String G. Cryogenically activated strings have a very very odd taste. Don’t eat your strings.
Fly and be free.
Black for the A. The lower strings, they don’t taste any better than the upper strings. Ah, what a symphony of sound that is.
Stretch ’em out just a little bit. Blue steel’s generally don’t require a whole lot of stretching on the electric side. So hopefully they won’t require a whole lot of stretching on the acoustic side.
Handy dandy PolyTune by T.C. Electronics. Awesome app for getting your guitar in tune.
Ok. We’ve got it tuned up. Let’s clip the strings off. Once you’ve clipped the strings it’s a good idea to tune once again. Just incase there’s any slippage.
That’s interesting… No slippage whatsoever, it’s still in tune.
As far as sound goes.
They have a good solid tone to them. Not overly bright but nice and solid at least with the fingertips.
They have a real nice solid tone to them. I really dig it. Don’t sound overly buzzy. They sound nice and big and full. That’s actually a really good thing. I like that.
Dean Markley I think you’ve hit an A+ out of the park home run with these strings.