Friday, September 26, 2014

The 11,426 mile recording session - Day 50ish. The song lives.

How this all started

The whole sorry tale

Well here we are at Day 50.  This week we've completely re-recorded the guide track with the new structure and arrangement. I've just finished loading and mixing Ed's bassline into the guide track for As Good As Ordinary Gets. And it is sounding great.  It's actually a song.  (The vocals are for guide/comedy purposes only. No autotune here).

Now we've got the structure and guidetrack finished, it's time to record drums. I've never done this before but the plan is to have Bungi (drummer) play along to the guide track while we record it. We'll mix it all down on to a stereo track and then it will be like traditional recording, bass first then guitars and finally vocals. Sounds easy.

Except Bungi's never played to click tracks and I've never recorded drums. What could possibly go wrong?!





Bungi - left handed drummer plays right handed kit.
















Current likelihood of success = UNKNOWN.

Here's the guide track of the song.

Sunday, September 21, 2014

The 11,426 mile recording session - Day 44ish

This has been a busy week. I've had to squeeze recording in around work and other projects. But thanks to recording to a click track, we've been able to turn around changes to the guide track of the song in next to no time.

Two easy lessons here:

1. ALWAYS ALWAYS ALWAYS use a click track when recording a song with someone on a different continent.  It's essential for programming drums and assembling tracks recorded separately in Protools or Cubase etc. (I know people who say it detroys the feel, but you only really get 'feel' if you're all in the same room and you can work on that in other ways).  And it makes it possible to punch in and out automatically to make changes to the track, which means you don't need five pairs of hands.

2. GET SOMETHING DOWN. Getting versions of the track recorded that you can listen to and then change/edit helps to understand how the song works.  It's a very different way of working and while it may seem a bit clinical (Record - email - edit - email etc.) it's actually organic in it's own way and has the advantage that you can keep all your ideas and versions.

So far we have done 3 complete versions of guide tracks from:
3 rough ideas tracks
2 or 3 vocals tracks with harmonies
4 complete guitar tracks (3 x electric, 1 x 12-string acoustic)
7 guitar overdubs
3 or 4 bass tracks
3 drum tracks

This is my hi-tech reverb shield for recording in a glass conservatory


Here's how it is sounding 

To me it has echoes of The Cure but that is mainly down to the guitar effect preset I chose on the desk. We'll see how it develops...

This week's task is to figure out the middle 8. (It's after the 1st chorus on the track). We've had a few goes at this and now have 5 potential options. And I've just recorded them all back-to-back on iRig on my phone to hear how they work. In 4/4 strum through these to hear the different tension they create

D C D C D Bm Bb A
D C D C D C D Bm Bb
D C D C G Bm Bb A
D C D C D Em Bb A
D C D C Em Bm Bb A

The good thing is that writing/recording this way has highlighted a weak/lazy link in the song. But it's also the first time in the project, that I've felt stuck. I've thought I need Ed here....

Sunday, September 14, 2014

Learning scales: six scales in two patterns

I've blogged before about learning scale patterns quickly using the two-pattern approach.

Here's a cheat sheet that you can download that will help you apply the two-pattern approach

Read these blog posts to find out more.  Leave a comment if you have any questions.

The major scale in two patterns

The minor scale in two patterns

Learning scales: the two-pattern approach vs CAGED

Remember, the aim with scales is to learn the patterns as quickly as you can while playing them accurately and then start using them to make music.

Ask www.justinguitar.com

Friday, September 12, 2014

The 11,426 mile recording session - Day 37ish

This week has all been about the drums for the guide-track. The pre-programmed patterns in my BR600 desk, of which there were 300+ to choose from were rubbish. I don't think I've ever heard a drummer play like that.

It has been a little challenging as neither me or Ed are drummers but Ed came up with the patterns and I embellished (?) them.

Working with a track map has been essential to do this quickly.  Here's how we did it:

1. Found the tempo. Sounds simple but one track I did was the same speed as Ed's original track but because the drum pattern (P134 V1 on the BR600) was dull it made it sound ploddy.

2. Wrote a basic pattern that worked under the whole track.

3. Listened to some hits to hear what real drummers do. The reference tracks were There She Goes (The La's) and Not Nineteen Forever (The Courteeners).

4. Wrote different variations for verses and chorus.  Drummers don't just play a beat for 3 minutes. If yours does, have a word!!

5. Wrote variations on the verses and chorus patterns to punctuate the ends of vocal lines etc.

And watch out for volumes. If it's all programmed loud it doesn't sound human. Listen to any death metal band.

Programming the 2-bar patterns was the fun bit. Programming them into an arrangement for the song was really hard until I used this....



Each section of the song has a column showing how many bars it is, and the number of the first and last bars in that section. It makes navigating on screen really easy.  The drums aren't finished but they are moving in the right direction.

When I've put the real timing against the song chart, Ed and I have been able to see how quickly vocals come in, when the first chorus is, and how long the outro lasts etc.

Being on different continents, this means that we can talk about the song structure really clearly. If we were in the same room we'd be able to busk it out but Skype is good but not that good. It's much more like a producer's way of thinking, and has really made me think about how I write.

If I'm honest, I pretty much go with whatever presents itself - I don't really review and edit myself. I will be doing so in future.

So this week we've got two guide-tracks done with drums, guitars and vocal.... here's the latest.

Have a listen.... 

Friday, September 5, 2014

The 11,426 mile recording session - Day 30ish

This post could easily be a moan about procrastination.  It's taken four weeks to actually get started. The thing about working in opposite timezones is that far from having double length days on the weekends, getting together is really hard.

But it isn't a moan, it is a celebration.  At 7am uk time this morning, I was playing my guitar and singing with Ed on the other side of the world.  Gotta love Skype, it was good enough to carry guitar, vocals and chatter. Some minor time lag but then guitarists and bassists get that when they are in the same room.  It really was just like old times 20 years ago.

First job was remembering the structure of the song. Then agreement on arrangement for guide track. Being apart really makes you apply discipline. The photo shows a song chart showing bars etc. I'll build a rudimentary drum track using this. Then we can use that to finalise the arrangement and record the final version.  

I'll post the drum track when it is done and you'll be able to hear how we build the track.

Here's a taster. https://soundcloud.com/dave-id-1/agaog-tasterhttps://soundcloud.com/dave-id-1/agaog-taster

Thursday, September 4, 2014

Guitar Gods - Justin Sandercoe

JustinGuitar

I stumbled across www.justinguitar.com about five years ago. I was embarking on a regime of "learning to play properly" and "fixing my self-taught bad habits". Justin's videos were appearing on YouTube and that led me to the site and video lesson heaven.

Justin's teaching has a calm clarity to it, that, mixed with (un)common sense practical tips, humour and occasional dodgy vocals, just works. He is my first stop, default source of guitar wisdom.

I started with 'Master The Major Scale' and Practical Music Theory For Guitarists, and it was like a light switch.

The thing I find most inspirational about Justin is that he makes everything feel possible with the right kind of effort. He is the Burt Weedon of the 21st Century.

My favourite tracks


How to play Sultans Of Swing

Blues (Lead & Rhythmn)

More


www.justinguitar.com

Justin on YouTube


Tab be or not tab be

Do you write guitar solos or improvise them?

I'm in the process of learning the setlist for a new band (again - a long story). It's soul/blues/rock thing which is new for me after spending years in pop/indie/rock and acoustic outfits, and I'm also the only guitarist (alongside drums, bass, sax, keys and multi-vocals) which also new for me.

I was working through a couple of arrangements which needed guitar solos, and I did my usual thing of plugging into the looper (Digitech Jamman original) and improvising over the chords to get the juices flowing.  I pinched this approach from David Gilmour who records two or three solos for new Pink Floyd tracks and then selects the best building blocks from each. (Or so I read).

A couple of the songs in the setlist are close in key and progression, as you'd expect from the repertoire, and playing them side-by-side made me notice how similar my guitar breaks sounded.

Don't get me wrong, I wasn't playing the same two or three licks over and over, I was focusing on doing something that served each song. But still, on playback over a coffee, the similarity jumped up and bit me on the a**e . And being the only guitarist, I know I'm going to have be able to deliver a varied style. I can't rely on a second guitarist to provide something different.

So I decided that I'd change my approach. I'd already written out song charts, so I decide to actively write and tab my guitar parts and solo. The results were really surprising. I ended up with two or three solos that sounded like me, but were a much better fit for the songs AND sounded very different from each other.

Here's how I did it.

1. I put the guitar down.
2. I listened to each song 3 or 4 times, really focusing on how it was flowing, where the tension and release was, what the other instruments were doing, and understanding the lyrics.
3. Then I played the songs in my head verse-by-verse, chorus-by-chorus. While I was doing this I sang the phrase I thought would fit. Not 64th note triplets with two handed tapping, but the key melody notes.
4. I made a conscious effort to come up with two or three options, and tried to include notes and timings that were outside the obvious. (At this point, my wife decided to go shopping).
5. I picked the guitar up and started to put it together bar-by-bar, tabbing it out as I went. This made me much more conscious of how I wanted to play the changes, and of using different voices on the guitar. I made choices rather than adopting a trusted approach.

Here's what I learned.
1. Some songs need more care and attention. Others will bear just letting the dog bark.
2. Playing these songs now feels very different, I get ideas and my cues from more than just the vocals or drums.
3. I'm actually fluid as a player within quite a narrow range. This helped me broaden what I was doing  I actually got to apply some of the techniques my teachers have shown me.
4. I am now able to focus on the quality and feel of the notes I am playing - I guess it really is not just what you play but the way that you play it.  I'm playing with more space.  I think this is because I have programmed the songs in at a deeper level.
5. The notes in my head, are not always that well connected to the ones under my fingers.  This means I'm probably playing quite visually using patterns. The singing thing helped.
6. Tabbing the solo helped me memorise things more quickly.

Better than that, the band noticed the difference and they liked it.

I could go on, but there's dozens more songs to do.


Monday, September 1, 2014

I know it's only rock and roll...but that's not right.



Every so often something happens that makes you take a step back and look at what is going on.  This post isn't about the usual practical tips for the fret-wrestling population.  It is about prejudice. It was dressed up as something else, but that is what it was - plain and simple. I just didn't think it would ever happen to me.

I am writing this, because in my day-job I work with companies to help them make their workplaces free of discrimination.  I am also writing this as an emotional safety valve.  So here's the story.

I'd been playing with a successful covers band for about nine months. The band gets 30-40 bookings per year, and most of them are weddings and parties. There are a few pub and charity gigs thrown in which normally lead to more bookings.   Things were really rolling this year and, for the first time in a long time, playing music was paying for itself. But we wanted to step it up a notch. None of us had any illusions about giving up our day jobs, but we wanted to see how far we could go.

We responded to an ad from one of the UK's largest agencies and they listened to the demos, checked the website and some testimonials, and then invited us down to play a showcase. On offer was some investment from them to make the band one of their flagship acts. The deal included studio time, show-reel videos, online marketing, and performance coaching.

We rehearsed like mad and during the showcase we played all out. It was 30 minutes of sheer joy for us. After they were really interested, excited even.

A couple of days later, they contacted the lead singer to say they wanted to take it forward and start working with the band.  Well, we all got very excited until the 'BUT....'

The agency had concerns. Namely, that having 'an older face' in the band (a.k.a. me) meant that we would not 'look like a band' and that, in turn, would put people off. This would make it difficult to market us and to get a return on their investment.  It was something they were not prepared to discuss.

At the time of writing this I am 46. My profile pic on this blog was taken two years ago.

I don't know who it was harder for - me listening to it, or the singer having to tell me. Curiously, it happened the weekend after there was outcry in the UK when Simon Cowell told a street dancer on Britain's Got Talent that he was too old (at 28) to be in the dance group he set up and ran! I am sure it is a coincidence, and nobody could be so easily influenced.

Anyway I decided to take a bullet for the band and move on.

But this article is not about me or whether the agency are right or wrong factually. That is irrelevant - ultimately, they could have blown off the whole band and told us we weren't what they were looking for. Or even the classic "We'll call you".  It is their money and they can invest it anyway they like.

This article is about the bias that drives our thinking and behaviour. And what is causing the sour taste in my mouth.

We are all biased - a polite word for prejudiced. Wow! That's a hell of a statement.  But like it or not we all are biased, to one extent or another. That means that we have preferences. Some of these are innate and some are conscious. These biases are built and reinforced by our families, traditions, culture, and the world around us as we grow up. They might be about the music we listen to, the work we want to do, the places we go, the food we like and a whole host of other things including the people with whom we like to associate based on their accent, their behaviour, their weight, religion, politics or the colour of their skin. What is important is what you do about your bias.

I grew up in the seventies in Britain. Back then newspapers and TV shows portrayed shocking stereotypes of 'foreigners' as stupid, difficult or untrustworthy, often using offensive language. I lived in a place where everybody was British and white, and I had no way of learning about people who were different to me.  So if it hadn't been for my teachers and my parents I'd have been exposed to a very one-sided view of people.  It would have been easy to mature into a bigot. (A bigot is a person who takes harmful actions based on their own unfounded bias and prejudice, and then justifies it as some kind of world view). And it would have seemed very natural, and no one would have noticed.

Unchecked and unquestioned, our biases will drive our thinking and choices without us knowing, prompting us to make irrational assumptions that can drive our behaviour and harm others. It is a chain reaction. The danger is that it is like the carbon monoxide of morality - it creeps up on you.

Here's how the chain reaction works:


1. An assumption is made on bias.  It is often disguised and rationalised.


For example, if I am only used to seeing 'young' people in bands, then it is quite likely that I will develop an innate sense that this is the norm.  When I see a band that has someone who is 'older', this will feel different.  I may associate this feeling of difference as 'wrong' and I may unconsciously intellectualise this in a statement like 'this not how bands are supposed to work'.

In fact what I am saying is "I don't feel comfortable with this, it is different. I want it to fit my view of the world. I want it to be the same because it is easier for me."

2. A decision is made on the assumption as 'fact'.


For example, "proper bands only have 'young' people in them, and people won't like or book a band that don't all look the same age".  What is actually going on here is rationalisation.

The problem here is not disproving the rationale or revealing that it is just an assumption - that's easy. In this case, simply ask "How many times have you seen an 'older' person in a band and it has ruined your night/party/event?"

The problem is getting people to let go of the assumption. Under questioning, it will often transform into more rationalising about the special requirements of the situation often dressed up as "You don't understand how it works..."

In fact, what they are saying is "I think the world thinks like me and I am afraid/unwilling to challenge the status quo so I won't work with you. I am choosing to reinforce the prejudice."

A decision has been made. A shitty one more often than not, all dressed up with 'facts'.   The decision is "I'm going to do what everyone else does because that feels comfortable. I will not not rock the boat (even if it is an imaginary boat floating on a sea of nonsense)."

Of course, don't forget the "It's not my fault", "I don't make the rules" defence.

3. Action is communicated on the decision. 


The action is often indirect and/or relies on a third party or the wronged party to deliver the message. Effectively the victim is blamed.

This may often be dressed up as a practical solution to "a difficult situation we all wish didn't exist, but it does." Sometimes, where a group of people is involved, it may be dressed up as some kind of magnaminous opportunity to "make your own decision amongst yourselves".  In fact, the bigot is simply protecting themselves from an uncomfortable situation and shielding their own world view from challenge.

So in the end, a singer and a guitarist who have been playing music together on and off for twenty years have a conversation based on love and respect, to make the best of the situation.  

In Britain in the sixties, many hotels displayed a sign saying "No Irish, no dogs" and the landlady refused to open the door. The signs are different now.

So I feel compelled to take a bullet for the team. They need it more than I do. It felt like I didn't have a choice.  But the part that is troubling me is that I may have just colluded in the whole thing.  As long as the bigot is safe, and can deny what they are doing.

By not challenging it directly, have I just become part of the problem?  Maybe that is what is making me feel so bad. Not the 'harm' inflicted on me, but my own bystander apathy, my acceptance of powerlessness.

This is not unusual where prejudice is at work.  One thing I can be sure of is that the agency in question are not feeling like this.

"I'll take the quiet life. A handshake of carbon monoxide. No alarms. No surprises."
No Surprises. RADIOHEAD

Check yourself.