A late night discussion last night with my co-producer led to a statement of more guitars! That is what is being called for in the final stages of American Mayhem production. As a guitar player I don’t really have a problem with recording more guitars. It’s what I do. Earlier today I thought I’d bring you in on part of my little journey of laying down more guitars. Layers baby. Layers.
Watch as I screw up. Ha ha ha.
Ah the life of a professional musician. Sometimes it takes more than one take. Or even more than one guitar. The true awesomeness is when it all comes together and sounds spectacular.
Enjoy the journey, can’t wait for you to hear the final product when it comes time to get it out to your ears.
That’s an understatement.
Stay tuned for more.
Ever wonder how we musicians figure out how to describe a song to others so that they’ll understand what the song is before they get to hear it? It’s important to know how to describe the sound of a song to others before they hear it. The better the description, the more enticing it becomes to the uninitiated to hear it. Catch a glimpse of us working through one of the steps of understanding the song so we can approach knowing how to describe it to you, the listener. Follow George Leger III, Jesse Stern and I as we pull apart some fine points in the studio.
The debate get a little heated, or does it? There’s definitely some laughter due to the responses we give each other. It’s an awesome what to arrive at the best method to figure out a song. BTW – who do I diss in this video? Find out!
Describe A Song
I’m just trying to think. I’ve been trying to describe this song to people I’m really not sure what to tell them. You know what I mean? Touch is very easy to describe. It’s this, this, this, and this. And I’m trying to think, what is… what is Till We Meet Again? It’s like.
Exactly! It’s that kind of a song. It’s about… wanting to be with somebody.
Now, the question I have for you is this person a friend, or is this a girl?
Well Jesse and I wrote it together. So maybe it was about us. I don’t know.
Is it about friendship? Or is it about romance?
Both. I think really. The passion with somebody you have, then split.
I didn’t know he felt this way about me.
Well. You know…
I feel this way about a lot of people, I just don’t tell them.
We have bromances going on left, right and center around here. You know how it is.
So anyway. I don’t know. I was just trying to figure out what we would actually call it when I go to describe it. Of course the song is not really done. But I was kinda thinking it’s like Train meets an 80’s power ballad without the soaring vocals. And a little bit bouncy.
No no no no no. I see the more like uh, like what’s his face. The guy you mention all the time.
John Maher what’s that Your Body Is A Wonderland.
Yeah, there ya go.
I don’t want it to be that dated though.
Dude! Dated? Fuck that. It’s not dated or not dated. It’s the attitude that I’m talking about.
It’s the vibe…
No, I’m just trying to figure out what I would
[who’s David, ha ha ha]
denote it as.
So yeah. What is it? Is it a romantic thing or is it ah, not a romantic thing.
I think it’s a longing thing.
But for what?
For someone, one person.
Well. Ok. Yeah. Ok.
That’s how I’ve always… thought of it.
That’s how I’m thinking of it.
[Yearning for love]
You know maybe it’s it’s kind of like keeping the flame alive. Maybe one day…
Enjoy, please pass it along to your friends. If you’re not on my email list – JOIN NOW!
Back in the studio. This time some video was captured that pulls back the mystery of vocals. Where George Leger III, Jesse Stern and I were discussing the fine points of doing multiple takes of the same line, using different emotions. All in the name of creating the best vocal to tell the story. What comes out is a frank discussion between the three of us. I make fun of a movie. Then George really runs into an electric speech about vocals. Jesse (the white hat at the bottom left of the video window) provides a little comic relief along with giving George something cool. Followed by myself relating a story from a recording session with a large songwriter’s organization. Watch what we said and did. Why? Because we’re having a good time talking about what goes into a great vocal recording.
Studio Vocal Mystery
Sometimes it reminds me the movie La Bomba. Dude that sounded great twenty takes ago.
That’s you know. No I’m not arguing that I know you gotta do and every little bit and piece, I’m, I’m fully there. I just think it’s funny that the brother was like he had no concept of like, it sounded the same man. It’s like, no it didn’t.
I sometimes joke when I’m comping vocals and like go in between a few different takes, how about this one, and this one. and I just look at ’em and they’ll say, they all sound exactly the same to me. I don’t know.
We all comp different, right? Like I could give you the same data, you would come up probably… well maybe we will come up with the same. Cause it seems like we’re thinking the same way I can… sense that. But some people I mean I’ll give them a track, you comp it and I’ll comp it. I’ll come back and their comp will be totally different. You know either I go for one that has a lotta little bitty edges and stuff. Little character bits and I’ll fix, I’ll tune it if I have to. But, try to get the character stuff that makes, to me makes a vocal personable; have personality, right? And I have people that just absolutely like want the note to be perfect. That’s what they’re after. That’s all they look for. Yeah. It’s like, there’s no… Cause you can fix… today we have the technology it makes it really easy to fix the note. You can fix the pitch. But you want to get that, you know you just started to do it. Your voice broke up a couple times in the first two lines. Which is exactly what I wanted to get.
Okay. So, anyways. I go for the feel like whatever makes me feel something. Yes!
Or what makes me kinda feel like I, I don’t have words anymore. Yes. And you get that little buzz too, I get a buzz when it happens it’s like I can feel it.
Well, you’re a really good producer. It’s fun to watch you work. Oh, thank you. That’s why I like doing vocal with the man. Yeah, I wanna do vocals with him.
I, I love working. I just love producing. It’s great fun. One of the things I was actually gonna say back to the vocals n something and stuff from movies and TV shows. In Canada, when they did We Are The World here. We had a song in Canada that was produced by David Foster. You know who David Foster is right Okay, do you know who Anne Murray is? yes she’s like… She’s a Canadian superstar, right? Exactly! She’s the Canadian Stevie Nicks. Yea. Sorta. She’s an… This woman has been singing her whole fucking life. She’s a perfectionist. And she can usually do it on the first take. She’s just that good. Well he goes and the same thing kinda happened with him. She got in the first two, first or second take, but he missed it. And they had this on the video that they did of the making of the thing, right? And, in the end it was like he he basically turned to her after he went 20 takes in. Listened to the first two takes and went: I’m so sorry. You did it already, I’m didn’t even hear it. And he was embarrassed.
And it was just like… Wow. It happens. Yeah. Even to the best of the best. I mean Foster is…
You’ve heard heard of Harold Payne right? Do you know who Harold Payne is? He’s a big time songwriter. And he helped write a song for Just Plain Folks. Which is a songwriters organization. Cause they did like a We Are The World. They brought in a bunch of different artists to sing different lines. And they had Alan O’Day producing, in the studio. Who’s no slouch of a writer. He’s had a couple of #1 hits. And Harold was sitting right, standing right next to me in this vocal booth. You know, to go over my line, do all this stuff. I go in. I do the first take. And I do it kinda bluesy. That’s how I thought it came across. And Allan is just going take after take and I hear Harold pull my thing back and he goes. Dude, you nailed it on the first take. I’m sorry.
Stay tuned for more peeks on the inside.