Cell-phone moe-rons

On the train today, in the quiet car, sleepin’ nicely.  Moron in the 1st seat of the top-deck of the Metra train car directly ahead takes a cell-phone call and starts a conversation.  After about 15 seconds, I say, “It’s the quiet car, you know.”  He gives me a dirty look and goes down stairs and completes his call as I try to go back to sleep.

He comes back up and starts in, “Satisfied? I did what you asked, are you satisfied, huh? Huh?”

I say, “F*** off.”

He says, “Don’t talk to me like that” and so I respond, “Piss off.”

He says, “Don’t talk to me that way or you’ll be sorry” as some woman on the *other side* of the train car chimes in, “Don’t waste your time, he cursed me out one time when I was on a emergency call, blah-blah-bah …”

I recall her; she tucked her head under her arm 3x until I called her “Dumb-ass” and she got up and left.

In the meantime, the doosh keeps jawin’ until he finally realizes he’s got a serious problem, stands up, reverses his seat and says, “I’m not going to sit with my back to you.”

Pretty funny as he was in the 1st seat, had to spend the rest of the train ride looking right at 20 people in the row formerly behind him.

I went back to sleep.

Some notes on “My Morning Light”

These words are collated from responses to others’ comments at lostoverture.com; they may be interesting and aid in understanding some of what we do:

Oh, re the “TFP sound”, the problems is,

a. we are prolific;

b. we are limited;

c. they is jams.

That’s why Grankie makes us so much better; he tightens us up and adds a 3rd voice.  Even Jack White and Prince are better when they have actual bands involved (not that I’m saying we are at their level, just that they are often part of one or 2 muso acts).  As much as I love The Kills, I think Dead Weather is more realized, much as I liked NPG, I think Wendy & Lisa, et al. made better records (1999 thru ZSign o’ the Times).

Of course, if I ended this one at the bass breakdown (and in a collection that might happen), it would not be a jam, would it?  BTW, that guitar solo was done in the time it takes to do it, out the door on the way to my son’s soccer game.  The fade-in, fade out?  Broke the high “E” on my Hohner headless guitar.

=====================================================

There is, of course, a aesthetic involved (not to mention  anesthetics- usually gin, lately – often used  during mixdowns).

I canna remember the last time we recorded a pre-written, pre-rehearsed tune – mebbe January or February 2010 when the diddler was wanking his guitar with us.

These are literally jams, written on the spot.  This one was a first and only take that we started out with.  It was about 10 minutes initially, and I edited it down.

We did three on Saturday in 2 hours; the other two we played a couple-5 times, not so much to get tighter but more because we were changing parts, the feel, tempo, adding breakdowns, etc.

90% of the time I use the last take, otherwise, I use the fecund to last.  But I do save all of the drum tracks to use when I run out of current recordings; they are re-cycled into new songs, especially when they are somewhat different from the already-used take.  For example, Krister might emphasize the floor tom on one take, but the ride on another, we might add or lose parts, etc.  Often,  I’ll flip the parts such that the chorus becomes the verse …

At this point, Krister and I are freakin’ tight as a rhythm section; I listen to his right hand, and he watches my body movements and face for cues.

We so wish for a [local] third player, tho’!

The Friday Project: “My Morning Light”

My Morning Light
c. ’11 The Friday Project

I can see all of your anger being reflected,
It’s not such a surprise when ya realize
you’re being rejected,
You cannot decide, antagonised, if you’re
respected,
All your lies, from deep inside, have been
detected
All your lies 2x

I don’t feel  you have the right
to stay with me
on any given night
Don’t have the right   to share my   to share
my morning light

Many been taken in by your sweet soft cries
But way within, it’s a sin, you know you live
in lies
So let’s begin, over again, it can’t be no
surprise
That I reject you, disrespect you, spit right
in your eyes
All your lies 2x

I don’t feel you have the right
to stay with me
on any given night
Don’t have the right   to share my   to share
my morning light
I don’t feel you have the right
to stay with me
All warm and tight
Don’t have the right   to share my   to share
my morning light

Drums: Krister-yama’s-R16 90 degreeOH’s
Bass: HohnerHdls-R16
LdVoc: D421N-Summit-1176
BVmid: MD421N-Summit-1176
BV-L: AKG D310-Eureka-
BV-Rt: EV635a-Eureka_A.wav
RthmGtr:
Left:F100-Elektar-2×12-MXL144-ISA1-VLA2
GtrRt: reverse
ChGtrs:
HohnerHdls-Elektar-2×12-MXL144-ISA1
Lead Gtr: Elektar-2×12-MXL144-ISA1

 68.20.35.210

carpal diem!

TFPTHDvlaymanblog
thefridayproject.bandcamp.com
thehungrydrunx.bandcamp.com

The Friday Project: “This Is Insane”

This Is Insane
c. 12 The Friday Project

4
This is insane what I’m feelin’ for you
It’s like the worse pain that I ever knew

4&2
Speakin’ of things you know nothin’ about
Is making my ears ring like my brains running out
Ya just go on and on until I want to shout
Ya keep talkin’ ’bout things you know nothin’ about

CH: This is insane what I’m feelin’ for you
It’s like the worse pain I ever knew
4&2

Doin’ all kindsa things and you ain’t even know
Ya just go on and on until I want to blow
And yer shakin’ yer arse like you ain’t even know
2
And yer shakin’ yer arse like you ain’t even know
Doin’ all kindsa things like yer takin’ control
Ya just go on and on until I want to blow
And yer shakin’ yer arse like you ain’t even know
CH 2x
Solo
Ch
This is insane what I’m feelin’ for you
And I don’t think you’ll like what I’m gonna do

Drums: krister-yama’s-R16
Bass: Alvz-R16
RthmGtrs: Tele-Epi-2×12-MXL144-ISA1
Vox: MD421-Summit-1176
BV2: RE320-Eureka
Wildkat-Marshall-MXL144-ISA1
Wildkat-Marshall-635a-Summit
Perc: 635a-Eureka
_________________
TFPTHDvlaymanblog

Some randumb drum-recording notes

The idear with using 2 mic’s on one thing – other than stereo – is to use one for the main sound, the other to augment.  For example, on the kick I’d get the best kick sound I can with my main kick mic (in my case a E604 with the capsule in the hole, pointed slightly above the beater.  Then I’d use the fecund mic to augment; that might be a condensor out front for more thump, or a dynamic mebbe pointed at the beater.  On snare I’d get the main sound (I’m mostly using 57’s altho’ trying other small dynamics, I have a Beta 58 on the way) and then augment either with a mic on the snares, or a body mic pointed at the side of the drum.  One cool trick is to use a omni dynamic around mid-shin to get both the beater and the snares …

One discussion I have with my band’s drummer is that he likes the ride mic’d.  Now, that is cool, except it only makes sense if there’s a ride part.  Same for the floor tom, what I usually mic, but often for no reason.  I also like to use my OH’s for the rack toms; I like a roomy drum sound, not a dead ’70’s pan-it-all-across-toms-roll thing.  But I do like to emphasize the floor tom when the song (as many of ours do) uses it extensively.

Finally, I feel a room mic is essential.  Now, how I use it changes dependent on many factors; sometimes it’s smashed, sometimes it’s pass filtered to hell so only the snare comes thru or just the top (seldom do you want a lot of kick in yer room mic), I often do the Albini trick and add corrective delay, say.012ms to get a bigger room sound.  It kills for snare, sometimes.

And I often use two room mics, EQ’d and compressed to emphasize different parts of the kit and barely panned, or EQ’d and compressed and gain-adjusted to serve as distant OH’s.  I find, using them as distant OH’s, that the tracks need not be identical mic’s as panning and EQ can serve to allow the tracks to give nice, not necessarily symmetrical, depth.

TFP w/ Grankspoine: “Her Dick (She Misses Him)”

Her Dick (She Misses Him)_w_Grankspoine
c. ’12 The Friday Project

When she don’t feel good
When she don’t feel like she should
When things just ain’t goin’ right
When she don’t think she can make it through
another night

When she feels, when she feels sick
When she feels, she wants her Dick
She knows this man
She knows he can
She calls out “Richard”, “Richard”, yet
again
She knows it even in her mind even as she
takes his hand

She been so lonely
As she drinks her Stoli
She thinks she’s only, the only one
She would be holy, wholly, but Richard
ain’t
the Father, ghost or son

Drums: krister-yama’s-R16
Bass: Alvarez-R16
LdVoc: Senn MD421 II-Eureka
BV’s: CAD M179-Eureka
Stick, bells, organ, synth: Grankspoine
_________________
TFPTHDvlaymanblog

The Hungry Drunx: “G.A.S.”

G.A.S.
c. ’11 The Hungry Drunx

There’s a disease, if you please –
It’s the kinda thing makes a muso weak in
the knees
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

There’s a real bad habit, and mebbe you
have it
It compels ya to run around, buy things like
a rabbit
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

When ya spend all yer bucks, and ya don’t
give a ***k
About eatin’ or booze, it’s the life that ya
choose
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

Some have gone crazy, some probably to
jail,
Spend more than they got, bad check’s in the
mail
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

SOLO (rap)

There’s a disease, if you please –
It’s the kinda thing makes a muso weak in
the knees
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

There’s a real bad habit, and mebbe you
have it
It compels ya to seek shite out, do anything
to grab it
I think I got it, I think I caught it
It’s a pain in the ass, It’s G.A.S.

Drums: SNARL
LdVoc: EV RE320-Summit-1176.wav
BV: EV635a-Summit-1176.wav
BV2: MD421 II-Eureka-1176
Bass: HohnerHdls-ARTtps-166x
RthmGtr: Cozart12-Elektar-2×12-MXL144-ISA1;
635a-Summit-Rt+pt012
LdGtr: G&L-Marshall-MXL144-ISA1-Rt;
635a-Summit-L+pt012
Tambo-SM63L-Eureka

G.A.S._320kps