Finally! The project that I’ve been totally immersed in for so many hours over so many days that time has lost all meaning (in a good way…I’ve been smiling and cackling like a mad scientist in his lair).
Among my latest random musical urges, I suddenly, out of nowhere felt like I wanted to cover “Getting Better” by The Beatles and do one of those videos where you video as you record each part. Initially, it was just going to be a solo project, but then I thought how things are always more fun “With A Little Help From My Friends.” So I contacted the biggest Beatles guru I know who also happens to be a multi-talented musician, singer, actor, and all around ridiculously good guy, Darin Murphy to see if he would be the John and Ringo to my Paul and George. He was gracious enough to agree to “Come Together” and I absolutely love the result.
It may be a strange song to cover in these crazy days, but if nothing else I like to think the title alone is just a good goal and hope. And some Beatles always makes things better.
Revisiting the ending to “Sultans of Swing” by Dire Straits. This song has always been special to me, as it was the first real milestone for me as a guitarist. When I learned the whole song as a fresh new guitar player oh so many moons ago, I felt I had really accomplished something big. I think it’s still some of the finest and most original guitar playing ever recorded.
In a lot of my bands, I end up covering a LOT of musical ground like keyboard parts for example. I had a particularly good time learning the keyboard solo to “Africa” by Toto. It can be a lot of fun and educational in that it gets you playing in a different way than you normally would.
The always amazing Brian Villalobos started the #sitcomonologuechallenge by posting 4 great videos of dramatic readings of sitcom theme songs. Here is my contribution. Channeling my best Quint from Jaws to tell a tale of woe from the seas.
So here’s something extremely silly I did. I used to work with the Paramount Story Wranglers which is an AWESOME group that goes to elementary schools and teaches kids about writing stories, then takes the CRAZY stories they writes and turns them into skits and songs for a show that the Story Wranglers perform at their school.
For one of the shows, I took one group’s story about Salvador Dali and turned it into a song. Tonight while looking for something else, I found the demo I had made of the song so we could learn it for the show, and decided that it needed the full production treatment to be a finished song. I wish I knew the elementary kids to credit for writing this story.
I am Salvador Dali, that is my name I practice and I practice for my art I want to be a painter of extraordinary fame But my art room is a mess and I guess that makes it hard
It makes me oh so mad, that I can’t paint I feel I’m not the person for this craft Maybe mom and dad can help with my complaint And help with brainstorming ideas and maybe painting a first draft
So we drove to a museum filled with other people’s art Just so I could see ’em, get ideas of where to start That’s when I saw a flyer and I found myself obsessed It said “Want to become famous? Join the Art Museum Contest!”
I went back to my art room and I painted and I painted I sent it to the contest, it was done And when I told my parents the good news, they nearly fainted My painting didn’t win 1st place, but 2nd place I won!
I told myself no matter how my painting looks There’s one thing more important than the rest Regardless if my name ends up in history books At least I’ll know that I tried my best!
Things I’ve done since lockdown that you should definitely (I mean, if you wanna) check out. #shamelessselfpromotionedition
Recorded and released a new song. Here’s all the details including the story of its making. I also thought of a few last-minute production things that made me cackle with glee even though most likely no one will detect them but me so it was just updated today with the final version. I say final because if it isn’t I’ll have to rename the song “Someday, I’ll Stop Tweaking This song, But Not tonight.”
Redesigned my website. You’re looking at it now.
Re-wrote the problematic lyrics to the Rolling Stones song “Brown Sugar” into something tasty and useful.
Live streamed a dramatic reading of Masque Of The Red Death and then a very not-dramatic reading of it.
Re-mixed the Friends Theme to have way more claps because of an off-hand silly comment on a friend’s post
Recorded VO as a foul-mouthed pirate cat for a web series, began recording audiobook narration for 4th book in a series by Andrew Hunter (I also narrated the previous 3). Played a lot of video games. Slept a lot. Took lots of walks. Got my diet in much better shape. Have stuck to a regular push-up regimen. Edited a series of videos for a friend and re-formatted his book. And probably a lot of other stuff I’m forgetting.
I”m not bragging or trying to detract from the seriousness going on in the world, but for me keeping track of the good and the light is the best, most productive and positive thing I can do. Everyone’ handles things in their own way, and however you are handling it, it’s right and okay. Maybe some of the stuff I’ve done can entertain, make you smile, or have some positive impact. That’s all I can really hope for is to try and put my little orbs of light out into the world. #quarantinethrive
From a spark in my brain to finished song: 13 hours. My new song, “Someday I’ll Stop Dreaming Of You.”
Long version: I had some dreams last night. I woke up at one point this morning and the idea and chorus for this song were in my head. I was still tired and wanted to go back to sleep, but I couldn’t. And this song kept nagging at me to give it life. So I got up and fired up my studio. I knew this was going to be different from anything else I’d ever done. I knew it was going to be all synthesizers when I’m mostly an organic guitar-driven guy. I knew the exact vibe and atmosphere I wanted. I also knew I was going to write it in a way that I’d never written before: as I went along. Just tinkering with sounds and parts.
So, where to start when you have many different synths, each with hundreds if not thousands of sounds? I did a search for every sound that had “Dream” in the title. Then I started going through them all and finding ones that I thought might work for what I was going for. I ended up with about 20+ tracks of synths ready to be used. I started piecing it all together part by part. After about 10 or 11 hours, the music was done and I had a verse and a chorus of lyrics. I took a walk at around midnight and finished another two verses. I got back home and finished the last of the lyrics, thinking I would record vocals tomorrow.
Then I realized that I was going for a very soft vocal style on this song, so despite sleeping roommate’s and roommate’s child, I decided it couldn’t wait. I recorded all the vocals, did a few overdubs and edits, and here we are. Approximately 13 hours from when the muse kissed me, her gift is done. A song completely unlike anything I’ve ever written or recorded before. Everything but the vocals was done with Reason 11 in Reaper.
Some of the identifiable (to me) influential ingredients in this musical casserole:
Billie Eilish
David Bowie
St. Vincent
Pink Floyd
Jellyfish
Cars
Annie Lennox
Adele
Muse
A list of (most of) the synth sounds used (all the “dream”-based sounds):
I have used Kyser, Dunlop, Shubb, D’Addario, Thalia ($75!) and they all have their issues. The most common capo issues are that guitars have different neck radiuses (or Radii) or how flat or curved they are. Capos are a fixed radius and therefore may not follow the profile of your fretboard perfectly and could cause buzz on the outer or inner strings depending on the capo vs. your radius. The Thalia capos seek to remedy this by having different shaped inserts for the capo. You pick the one that matches your guitar’s radius. However this means that if you want to use the capo on another guitar with a different radius, you have to change inserts. I also had to order a special pack of XL inserts to fit my Rain Song acoustic. The standard ones weren’t tall enough. I also found the Thalia too bulky. Playing a B7 shape at the 7th fret was difficult with the high profile of the capo. The Thalia also suffered from the other common problem…
The other is that any spring-loaded capos have a fixed tension and I find that on some guitar, they will push the strings sharp. Now recently, I found the Shubb and D’Addario capos remedied this problem with adjustable tension. The Shubb had become my favorite due to it’s small size and just generally having a good quality feel.
The other common problem is that any spring-loaded capos have a fixed tension and I find that on some guitars, they will push the strings sharp. Now recently, I found the Shubb and D’Addario capos remedied this problem with adjustable tension. The Shubb had become my favorite due to it’s small size and just generally having a good quality feel.
Then I discovered the G7th Performance 3 ART capo. They ART stands for “Adaptive Radius Technology.” The pad on this capo is built in such a way that it can adapt to the radius of your neck. It also has a really cool and unique tensioning mechanism where you squeeze it on and it stays however tight you squeeze it so you can put just enough pressure as necessary to get a nice clear sound without pushing strings sharp.
At $45 it’s more expensive than any of the others except the $75 Thalia, but I think it’s worth it. My second choice would be the Shubb. Enjoy the fruits of my labors and the knowledge gleaned from way too much money spent on capos over the years.
The other is that any spring-loaded capos have a fixed tension and I find that on some guitar, they will push the strings sharp. Now recently, I found the Shubb and D’Addario capos remedied this problem with adjustable tension. The Shubb had become my favorite due to it’s small size and just generally having a good quality feel.
Then I discovered the G7th Performance 3 ART capo. They ART stands for “Adaptive Radius Technology.” The pad on this capo is built in such a way that it can adapt to the radius of your neck. It also has a really cool and unique tensioning mechanism where you squeeze it on and it stays however tight you squeeze it so you can put just enough pressure as necessary to get a nice clear sound without pushing strings sharp.
At $45 it’s more expensive than any of the others except the $75 Thalia, but I think it’s worth it. My second choice would be the Shubb. Enjoy the fruits of my labors and the knowledge gleaned from way too much money spent on capos over the years.
A video I made, pretty much just saying everything I just said here.
Learning bass parts for an upcoming project, I decided to try actually notating the bass part to “Follow You Follow Me” by Genesis in tablature just to see if maybe that would be helpful to have in the future (usually I just learn by ear and memorize). Things I learned:1. It’s probably not worth the time it took (many hours), at least not for a complex bass part that has a lot of changes and variations. 2. I’m an amateur as far as writing notation so I may not have done it “optimally,” but I feel like things that are easy to “feel” and play look far more complicated on paper. Like, this bass part isn’t easy, but I don’t think it’s nearly as hard as it ends up looking when written.
I’ve posted before about this strange rebellious streak I have in me that I don’t really understand and sometimes find annoying. I found a perfect example tonight.
Learning some bass parts, I was thinking about how I really prefer playing bass with a pick. Now there are certain songs or reasons that I sometimes prefer using my fingers but in general, I like the feel and sound of a pick better and feel like everything is much easier for me. Now, there are some schools of thought (that I do not agree with) that think using a pick is “inferior” to using fingers. I can play great with my fingers too, but vastly prefer a pick. With a pick, everything is just so much more effortless for me, while using my fingers makes me have to “fight” a little bit more.
And yet, I play 90%+ using my fingers. I think partially for fear of not being taken seriously by bass snobs if I don’t but also because it’s harder and less intuitive for me and so a part of me thinks “Well then you should develop that muscle and strengthen it instead of just doing what’s easier and more effortless for you.” I researched different right hand techniques and even with that, instead of using the right hand technique that comes most naturally, I find myself trying to train myself to use other ones that I’ve never used before.
I am ambivalent about this streak in me. On the one hand, it’s great to always push yourself and try to strengthen weaknesses, but on the other, it’s kind of silly to throw needless roadblocks and obstacles in your own path for no good reason other than to “up the difficulty” or to please opinionated snobs. My mind is a fascinating place.
