His line, “Ground Control to Major Tom” is heard, and used, by me at least a couple times a year.

Its melody is currently on loop in my head, followed by “Ashes to ashes, funk to funky.”


bandcamp; vlayman;
THD; blog.
I mix with olive juice.

Re: “The Center of Attention”

From a Lostoverture thread:

Thanx for listening.

FWIW, the drums started as Guitar Hero stems for Radiohead’s “My Iron Lung”. I heavily edited same, first using gates to reduce the bleed as well as the cymbals. Then I moved the bits around; it’s surprising how the tempo sped up at the end, hence the disconcerting initial chorus, what I had some trouble fitting in (see above, where I noted that I hadda extra beat where I was tying to smooth the transition).

I wrote this on bass,and sometimes lately I attempt to develop a kinda odd bass pattern to break me out of the tried-and-true – I think it worked OK here, altho’ it’s not radically different. The bass is played DI through two different pre/compressor chains in parallel, what I am loving recently as it gives me tons of EQ and even dynamics control.  The Meek VC3Q by itself is very heavy and dark as a DI as the compressor colours it significantly, and the Brick with the dbx 160XT is very good and dynamic and brighter; together they allow me to get more clarity and heft than separately.

Next came the vocals, what started from that very first line, what I just riffed from.  Lately on vocal sounds I’ve been using my Eureka with the compressor remaining unchanged, adjusting only the pre’s gain. Then, I’ve been changing out mic’s for fun.  This one is a ancient, cream-colored Sennheiser 421n I bought from TOMB’s rhythmranch (the “n” means it has a Tuchel connector – to which I have wired a short Tuchel to XLR cord).  The 421 is a standard, perhaps most recognizable on toms, and in use on everything in the George HarrisonBangladesh movie. I find it comparable to other large-diaphragm dynamics like the SM7b and the PV200i and even some of the older EV’s altho’ its cleaner than the latter, a little more natural and less EQ’d than the former two. There is some ITB compression and plate reverbs on the vox, what I think are a lead and some 5 BV’s by the end.

I did the G&L guitar tracks next, what are panned at 10 and 2, and are sorta Keefy leadish. I developed a little theme  having recently listened to his latest record, and so sorta thinking that stylee.  The reverb is all from the Hot Rod Delux and it’s a old AKG dynamic mic intio a racked Yamaha pre.
I then did the hard-panned Teles as just more basic rhythm fillers, the left being more chordsy and the right a little more with single-note lines. The Toadworks Meat, Jr. pedal is a clean boost (think OCD or DOD OD/Pre250, etc., or even Klon Centaur) into a ancient Marlboro QSB2 reverb unit (as used by 3 Dog Night) into a Fender Pro,Jr. and then a MXL 860 ribbon (looks like a Royer) into a Cathedral Pipes Durham (like a Cloudlifter or FEThead) into the Yamaha pre.

And yes, I wrote this post as I’m killing time before work.  Grin

Mix with me

Aiight, I posted some multi-tracks at Mix-Off, here, of my choon, “The Center of Attention”.

If you care to indulge …
bandcamp; vlayman;
THD; blog.
I mix with olive juice.

Aiight, so to ‘splain the *Stems …* album

I said:

Aiight, not only izzat a Clash reference, it’s the drum stems from “Casbah”, see.

Do go back and listen to “Riot”. I think it’s the best choon; it’s the drum tracks from a Sonic Youth ditty, “Teenage Riot” and thus requires the noise intro …

All songs, BTW, are using drum stems from hits, ex., “Love Roller Coaster”, “Yoshimi & the Pink Robot”, “The Hardest Button to Button”, “Shiva”, “Everybody Wants to Rule the World”, “Ramble On” …

As I wrote on the page, the original titles inspired the lyrics and song names.

The drums are mostly from the video game, Guitar Hero and were .ogg files so the percussion tracks are not the best fidelity of sound.

Inverse Room: “Counterfeit Umbrella”

A cool vid posted by a guy at TOMB in ’07.


Some CD notes

Loving the latest Built to Spill, Untethered Moon – quirky hard/prog rock with awesome guitar parts and sounds, varied arrangements, and I believe our own LC worked onnit.

Jason Isbell’s latest and last records is very good.

Latest Low, also.

Keef’s is OK, rather laid back and Americana-retro.

Love the Lanegan demos and the SoundGarden rarities releases.

Veruca Salt rocks and The Amazing is SoCal cool (especially amazing in light of their country of origin) and the Church’s is just aiight.

I like the new Wilco, also, as well as the Tweedy release,

The Sticky Fingers re-master is excellent because of the 2nd disc with alternate versions – production is very crisp, tho’.

Also loving the latest James McMurtry, and especially the new Eleventh Dream Day.

Also, last year’s D’Angelo release is striking me as genius.
vlayman; THD; blog; TFP

Daddy Issues

Daddy issues, some might say, but at 55 I still compare myselves to my father (RIP), especially concering his areas of expertise.

Went to change the oil and the thermostat on my old (’96 Dodge 1500 w/ 5.9L) this AM, had the tools out and the son standing by to assist.

Lemme see, loosen the tortion wheel and get the serpentine off, check.
Un-bolt the alternator – tight bitch, two bolts one nut, check.

Look it over, gotta un-wire the alternator, remove the cross brace, move the AC lines …

… no.

My daddy, and many is the time, would be out there all day cursing and fighting the thing and having me there to assist and be cursed at and help him fight it.

And it is fond memories that make me larf – about how miserable it was at the time.

Me, I put it all back together – that took a half hour of cursing and fighting (tho’ not at my kid) – and I’m gonna bring it in to the shop and for US$200 they can replace the thermostat and change the oil and I won’t hafta curse nothin’ but them and the bill.

I hope my kid eventually gets smarter than me, too.  thumbup


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