So, last night, at the instigation of the drummer, we again did “improv” recording. (I gotta getta better name for that, because they’re really a little more structured.)
In a exchange of emails during the week, he indicated how cool last week’s session was, and let’s do it again.
This time, while I brought my head and bottom, (and my amp and cabinet), I left the bass stuff in the truck, except my Hohner B2B j-style. Tom had his 30 w. Peavey Classic (what a sweet amp), also, but we never plugged it in. I DI’d and I gotta say, the hi-z input on the Zoom R16 is really, really good, with this bass – I get a very convincing and inspirational grind out of it what rules for monitoring in cans, altho’ I typically re-amp or at least heavily EQ ifd I keep the trax.
I have a cheap Zoom 505 multi-FX and so I had Tom dick wiffit whilst I set up the drum mic’s, what were typical but slightly altered in that there were only 5:
The eighth track on the R16 was a SM58 for yo’s vocal styleeings.
Aiight, and since we agreed to do this as of Thursday, I got up at 8:30 AM Friday (I took the day off already) and by 10:15 I had the lyrics to 5 choons.
1 6-pack Lagunitas IPA – like, yum.
So then, wif me seated behind the recorder and Tom to me right as we faced the kit, we started on each song. First, we either chose some chords (“Hey, Tom, what’s yer fave 3 chords?”) or used a word (one song as FAGG for the verse) or started witha bass riff inna single chord. Then I would take a cupopla minnitz to fit the bass to the lyrics, and then we’d write the chorus and whatever bridge. Going thru the parts we’d work out the derrangement, and also candy-shite like where to put stops and breakdowns and one choon even opens wif just bass and vocal.
Then we’d do a practice partial-run of the parts.
Then – and half the time the other guys didn’t know – we’d be recording the take. Most were first takes, of 5 we did do two fecund takes.
The results? Mebbe I’ll post a ruff inna while as I have 58 minnitz of 8 tracks I’ve just started on, but, I think, as far as the drums go, stellar. And that was the idear, to get drum tracks to the songs to what we will in the coming weeks overdub the guitars and the bass and the alleged singing and do all the sweetening and mixing and masturding, etc.
We have so much stuff with Tom, now, I am gonna publish some tracks of just me and Mark (and a couple with Herr Grankenspoine) as MVx2 separately, and come up with a new project name for this aggregation.
Did I mention we’re having a blast?
Azza aside, we recorded between 6:00 and 10:30, and then sat around until 1:00 AM tellin’ war stories.
Last night I recorded my drummer OD’ing on a Granx collab (coming atcha later today, G – it’s great!) and also on a MVx2 choon I originally playt to a loop of him.
That tookt about 2 hours because of lotsa BSin’, etc., and I mebbe had me a cuppla 312’s.
We did the OD’s by me having rendered the reference track to mono, and recording the drums on 6 trax (E602 to kick, SM57 on snare, RE320 on floor toms, Perception kick mic on racks, OH’s was SP C1’s in ORTF about 5′ up and 6′ out on the kick/snare axis).
So I left the drums pluggt in and DI’d the guitarist, Tom’s Les Paul thru a blues-driver into a channel and my headless bass into a channel and we jammed straight thru for 28+ minutes with me laying down a riff, the drums catching and then the guitar, going 3-5 minutes, stopping and then me starting a new one.
It was noteworthy because we had nothing written – I just thought up a bass line, figured the tonic for emphasis, and started playing – including changes that I made very obvious by nodding at the band, and showing my hands to Tom. I could not do what he did – he follered me with very little hesitation, and even less mistakes, he’s that good.
Mark and I have been locking well for at least a year now – it was damn-near seamless.
So we ended up with 6 tracks of drums, plus a bass and guitar track each, in a half hour of improv.
I told the guys the bass and guitar were irrelevant (if fun), that the key thing was to get the drums inna groove for looping and writing to. That said, some of the playing is worthy just because of the interaction.
Anywhat, if ya get the chance to try doing this, do try doing this.
So, Tuesday I jammed on guitar with a band that a old highschool friend (Dave) plays pretty good bass in. They had a good drummer (forgot his name), and the decent singer/guitarist (Roger) is a good writer, also. They didn’t immediately invite me to join, don’t know if they will, not sure I want to for various reasons, but I had fun.
Wednesday I had a second jam (mostly bass and some guitar) with a drummer (Joe) I met offa Craigslist. Nice guy, good drummer, had a triple bypass a year ago and so his stamina is about 20 minutes, but he’s good for jamming and recording with, and, like I said, a nice guy.
Thursday I got to gether with the Bustouts’ excellent former drummer (Mark the cop) and a good new bassist (Bob); I sing and play guitar. We are calling ourselves a band, mebbe, “The Strangers” (thanx, jr!), but are really more of a recording project at this point.
Yesterday I mixed down and did some recording on a cuppla tracks I recorded last Sunday with Joe, as I did on Monday, and reworked my pedal board and soldered some cables.
This morning I did some lead guitar work onna rap track a friend of mine is Svengali’ing – he texted me he “loves” it.
This afternoon Joe came over and we did some percussion and vocals on our two tracks, what I will post soon.
Just sezzin’ …
|Posted: Sun 17.01.16, 8:38 pm Post subject: Re: Vlayman (latest)|
c. ’15 Mike&Bob
I ain’t sure where she was comin’ from when I met her
I only wanted
She didn’t know the things I seen, in my li fe
I only wanted
That’s the way it always is
c. ’15 Vlayman, derranged by Grankspoine
I know you feel you wanna keep every thing hidden
Ain’t never gonna put nothin’ on display
It ain’t that you ever get to feelin’ guilt-ridden, no
That ain’t yer way 2x
And I know you cain’t never really be happy
Ain’t never gonna show you ever even feel OK
You never wanna seem close to what you really be, no
That ain’t yer way 2x
I expect you’ll reject any move I make toward you
Ain’t never gonna acknowledge it’s even close to OK
You never want no one to think they can afford you, no
That ain’t yer way 2x
I don’t know if I can show I ain’t mean you no harm
And I wouldn’t put you at risk for just a lay
There ain’t no reason for you to feel alarm, no
That ain’t my way 2x
I know I seem like the kind that always keeps things hidden
I ain’t the kinda guy puts it on display
It ain’t that I ever feel any kind of guilt-ridden, no
That ain’t my way 2x
I don’t know if we can go somewhere you’ll feel alright
I don’t know, mebbe somewhere we can keep it bright as day
There ain’t no reason we can’t do something in the light, no
Do it that way, it’s OK 2x
Do it that way, it’s OK, Pull down the shades
Just posting about ’em at TOMB, probably repeating myself:
I have a Pro, Jr. and really like it, use it for practices and recording.
Same with a Electar 10, what compliments the Pro, Jr. for recording, sounding a little different.
I’ve been looking for a Terror used, but they are more’n I wanna pay.
I have a 1960 Rickie M8E that’s awesome, Neil Young “Down By The River”/Keef “Brown Sugar”, Page “Custard Pie” tones … never leaves the house.
S/S I really like the little Vox Pathfinder and the Tech 21 Trademark 10- they record very well.
I also have a Peavey Audition with their “transtube” that is usable, especially for the high-gain sounds.
I have a couple others that are 1-trick ponies (Kustom, Mini Mouse, Harmony) as well as some of the little 1 w. S/S things like the Zues and the tweed Epi, a First act …