My Friday nite recording adventures

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: E6502 on kick; SM57 on snare; SP C4’s in XY for OH’s (again on that imaginary snare/kick bisexting line opposite the hats) RE320 looking across the rack toms, pointing at ye olde floor toms 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.

carpal diem! THD vlayman blog vlayman.bandcamp.com thehungrydrunx.bandcamp.com

Last night’s jammage and recording a new writing approach

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.

carpal diem! THD vlayman blog vlayman.bandcamp.com thehungrydrunx.bandcamp.com

My Musical Week

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’ …

The Strangers: “ColdFries”

A extemporaneous blooze, wif bad words.

ColdFries

The Strangers:

Vezina: Drums:
Captain Bob: Bass
Vlayman: guitar and gargling
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I mix with olive juice.

Vlayman & Bob: “The Shiv”

Posted: Sun 17.01.16, 8:38 pm    Post subject: Re: Vlayman (latest)
The Shiv c. ’15 Mike&Bob I ain’t sure where she was comin’ from when I met her All I knowed is that I wanted to get with her next to me next to me I only wanted to live But She only gives the shiv She didn’t know the things I seen, in my li fe She ain’t got no idear where I been in my life How it cuts like a knife I only wanted to live But She only gives the shiv That’s the way it always is But I sure loved her kiss You know I did Drums: nettage Basses: (Bob) Fender-Brick-dbx160XT_VC3Q LdVoc: (Mike) SennMD735-Eureka BV’s: (Mike&Bob) SennMD735-Eureka Gtrs: (Mike) Tele-RadialHB-HRDX-AKGd310-Eureka _________________ bandcamp; vlayman; THD; blog. I mix with olive juice.

Vlayman & Grankspoine: “The Way”

The Way
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

Drums: nettage
Bass: Alvz-Brick-1176_VC3Q
Vox: Luna-Eureka
Gtrs, horns, keys: Grankspoine
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THD; blog.
I mix with olive juice.

Re small amps, again

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 …

I have a Marlboro 25 w. 12″ bass amp, also. records aiight, especially when combined with a DI.
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Sepak & Vlayman: “Woman of Mine”

Our first jam:

Woman of Mine
c. ’14 Rick Sepak, Vlayman

I been taking all my troubles back to you
You been tellin me sompin’ I ain’t wanna do
Don’t try and    change my mind
Don’t think you can change my mind

I been taking all my troubles back to you
You been tellin, me sompin’ I ain’t wanna do
And now yer outta t-i-i-i-iime
Are we just runnin’ outta time

I been taking all my troubles back to you
You been tellin, me sompin’ I ain’t wanna do
You gone over line
You gone way past the line

So you decided to leave me.
Lemme change yer mind
Let me change yer mind
This ‘ll be, this’ll be the last time

So I dun took my trouble back to you
And you told me a buncha shit you want me to do
It would be a crime
A mother-fuckin’ crime

Drums: Vezina
Bass: HnrHdls-VC3Q (mike)
Gtr: G&Lf100-Marshall-E609-ISA1 (rick)
Vox: Senn MK4-Eureka
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I gotta confess, I kinda hate nice mic’s and guitars

From a thread at TOMB:

I mean, I gotta couple-5 of each, and I am very careful to take care of ’em, not bang ’em around, scratch ’em, let ’em get dusty.

Whadda drag.

I have more fun with my beater guitars and mic’s what I can sweat on, swing around, whack cymbals and the drummer with, risk dropping as I dance …
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… nice stuff is mebbe less useful, to the extent that I feel I should be careful with it to keep it nice.

Once the guitar is scratched I can bang it on the stage or toss it to someone I’m 90% sure will catch it.

Once a mic is dented (I tipped a stand-mounted MXL V69ME last week and gave the gold screen a souvenir), I somehow feel more free to spit on it and scream, don’t feel totally obligated to case it vs. a toss into the gig bag.

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When I say “beater”, I’m not referring to “low quality”, but rather “well-used”.

For example, I consider my 80’s Tele or Paul or G&L F100’s to be well-used, beater guitars, and superior to my newish SG, MIJ Strat, Epi Wildkat and Sheraton II, etc.

When I play the dented and chipped and bled-on former, I rock; when I play the shiny latter, I’m careful of the instrument.

When I sing in my old spit-covered, dis-colored and chipped 58’s or 57’s or AKG’s, what I love, I’m more casual with them than any condensor, or even a newish SM7b or RE320 or 421II.

I have two AKG310’s – the old beat one gets used far more, even tho’ they sound the same; likewise, I use the beat-up Shures before the newer ones (yes, I tend to have pairs of mic’s – I guess I see ’em as testicular extensions or sompin’.  )

Mebbe it’s a complex? I always choose the grungier cords or cables for performance, the well-worn picks and loose mic stands and chipped glass slides …

Mebbe it’s ‘cuz my moms always says keep nice things nice, so that I only feel comfortable workin’ the beaters hard.

 

First takes

FWIW, and this probably explains a lot, but my lead vocals as linked below are probably 80% first takes, and guitar leads are probably 95%.

My reasoning is that I’m lazy, suck at it anyway, and punk as fuhk. 

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