THD’s *Sleeper Daze*, reviewed

Crazy looks like fun
Good riff and vocal. Quite catchy and motors nicely. Middle and end waffle a bit.

It’s gotta line up
Great bass sound, great drums. I thought the riff was weak.

My bartender
This has the advantage of getting going straight away. The riff was Stones-y and good. Chorus frenetic and end weak.

Outside the door
Great live drums sound, good chorus and nice bass sound – guitar6?

Sleeper daze
Great big sound, but otherwise I didn’t engage with this one.

Jimmy says
Good chorus on this, although the tempo ramps up. Solo weak.

32d floor
I liked the sparse sound on this one. Guitar6 bass again? Simple effective riff, nice atmosphere.

This was the stand-out song for me.Excellent bass, strong moody atmosphere.

Your adrenaline
Wonderful thumping drums on this, but not much else

I replied:
Wow, thanx for taking the time!

Outside the Door – Hohner headless w/ EMG’s into a Zoom MS60b w/ dynaflanger patch to Ampeg BA108 mic’d with a PV520I into The Brick and dbx 160xt, with a Meek VC3Q DI in parallel, panned 11:30 and 12:30.

32d floor – Hohner headless w/ EMG’s into aTech21 VT Bass and Ashdown Octave pedal to Ampeg BA108 mic’d with a PV520I into The Brick and dbx 160xt, with a Meek VC3Q DI in parallel, panned 11:30 and 12:30. Drums came as two-track from Snarl; I used EQ and gating to isolate the kick in mono, and brought that back in parallel under the original.

Your Adrenaline – Android phone mono recording of drums, heavily processed; “Sleeper Daze” has similar drums.

New THD: *Sleeper Daze*


1. Crazy Looks Like Fun 03:50
2. It’s Gotta Line Up 03:23
3. My Bartender 03:22
4. Right Outside the Door 03:33
5. Jimmy Says 03:39
6. Sleeper Daze 04:29
7. 32nd Floor (No more) 03:46
8. Defenseless 03:42
9. Your Adrenaline 03:58

We are greatly embarrassed. We have behaved insensitively at times, and we accept responsibility for that,
though we do not believe that all of the allegations are accurate.

released November 23, 2017

Drums: snarl
Other shite: Vlayman
Drums recorded in Portland, the rest at Feta Central DDL where mixing, masturding and fartwork also got perpetrated.

I mix with olive juice.

S/S vs tube amp preference

In answer to the question, “Why do solid state amps and heads seem to be more widely accepted by bass players, as opposed to guitar players who mostly seem to prefer tube driven?” at basstalk, I said:

As a almost 40 year guitar player and being a almost 25 year bass player, my answer is that I want tubes in the guitar amp so I can play them interactively, particularly on solos, where tone can be manipulated through dynamic playing, and even how you face the guitar at the amp. As a recording guitarist, I treasure my S/S Trademark 10 for the variety of sounds I can get, even as I curse it’s limited dimensionality in the playing experience. I have a S/S Pathfinder that sounds terrific, but also doesn’t really interact with the guitar. In short, S/S amps aren’t as much fun with a guitar.
When playing bass, I want more consistency of tone and to a lesser degree of level, and S/S does that easily. I have a Musicman HD130 that I love to play bass through, and among others I have a S/S PF500 that is so much easier to play bass through for the stated reasons. As well, the PF takes pedals better, which is important to me as I love filters; and OD and distortion can be found through pedals – I think – more convincingly when playing bass with a S/S amp vs. guitar with a S/S amp. In short, the cost, weight, maintenance hassle and difference in sound do not make the difference in fun – and I don’t think there is much of one – using a tube bass amp preferable or in any way superior to to a S/S (my Musicman sits in my bedio.)
But I could be wrong … :);-D


The thread is here:

Los Altercocker Rockers, recording 08-17

LAC: ruff of “The Ballad of Roy Moore”, and notes

As postered on FB:

Thanx! It may be of interest to my recording brethren that the drums are a Roland TD 11 kit recorded live into a Zoom R16 along with the DI’d bass (Hohner BA2 into a Visual Sound compressor and Source Audio pedals) and the DI’d stereo guitar (Tele with pedals), all in my living room last Saturday. Those tracks were edited down from an 11 minute jam,and then I OD’d the lead (Tele into a Nightrain 50) and vocals (Luna to VC1Q) yesterday. I had CNN on the laptop when I was editing the initial tracks on the PC, and thus gained the lyric’s inspiration.

scumble: *somewhere between*


1. The Stickin’ Point 04:01
2. Runnin’ Fast 03:20
3. She Feels 03:22
4. Get Outta My Way 03:54
5. Her Mistakes 03:11
6. Somewhere Between 03:15
7. Old Fool 03:44
8. Early Days 03:01
9. Diamonds 03:14

The droogs was d-dyin’ off, it weren’t no contest and them had no
complaint, ’twas the way of it, and no mistake. But then there
splooshed another international issue, and so, like as not grumbling
but secretly happy, did *scumble* form from their arses. One from ye
merry olde, one from o’er there, they collided, colluded and created.
This, then, is their thing.

released November 1, 2017

Grankspoine: guitars, keys, horns, strings, percussion, sound-fx, pop-
sensibility, derrangements, actual musicianshite, fartwerk and
sequencing. Notable quotes: “Doya want a reference?” and, “Less
widdly, more bass”.

Vlayman: bass, vox, looping, lyrics and progressions, derrangements,
mixes and production. Notable quotes: “It won’t line up” and, “More
olive juice”.

Initial tracking and final mixes done at Fetacentral DDL, near Chi-town,
USA. Add’l recording and fartwerk done at
Grankie’s near London, UK.

all rights reserved

I mix with olive juice.