An attempt at the intro volume swells using the AxeFx III and MFC 101 Pedal Board and Mission Engineering Expression Pedals. I haven't previously worked on volume pedal swells before learning this tune and still need some practice before the full song performance.
Filtering by Tag: Guitar
I got the ES-355 VOS in classic white on Friday and I've had a little bit of time to mess around with it. This is the guitar I really wanted, it's got the vibe I was going for and no major problems. There were initially some small buzzing issues, but it arrived tuned to Eb and tuning up to standard cleared up most of that. It plays great and is very acoustically resonant (not surprising given it's a semi-hollow body). I was happy to discover that the gold hardware is more faded in real life compared to its saturated look in the picture. I'm guessing they thought that was a selling point, but I prefer the faded look.
I'm having a bit of a Rushenaissance with the new guitar. My AxeFx III has been pretty neglected since I got it a few months ago, largely due to the etflp class. I've started to get back into tweaking it with the intent of recreating some of these classic sounds. I had a set of tutorials for the AxeFx II that I never completed but now the same instructor (Cooper Carter) is releasing a new set for the Axe III. I plan on going through those once available, but I'm already starting to experiment and get the Axe III in running shape.
Someone on the the FAS forum had posted a tutorial about getting the MFC 101 Foot Controller (designed for the AxeII, but also a fully capable MIDI controller) running with the AxeFX III so I was able to get some basic functionality including patch changes, scenes, individual FX on/off, and expression pedals. I've still got a bit of tweaking, but my first experiment is going to be trying to record a cover video of Xanadu. I've got some plans for kimono/wig silliness as well. I'm hoping I can at least play the bass part as well, although there are a few challenging runs in there that I don't have down just yet.
I might also record a few snippets of the drum part, but make it a joke since I can't play the whole thing by any means, at least not yet. Some of those triplets are still a year or more away.
Perhaps in another episode of premature fowl tabulation, I'm just sayin' that it feels good to get back into the regular swing of things where I can wake up each day and prioritize my schedule based on my personal wants and needs, especially in the area of musicianship. I haven't received feedback on either of my final assignments, but I'm relatively confident I should be good for this semester. I received my grade for my final sight singing test, and although I didn't smoke it by any means, I was satisfied with the 86 I received.
This should ensure no worse than a B in that course, and although it screws up my lifetime 4.0 with Berklee (as well as being my first B since 1996), I'm not sweating it because as said before, this course was fairly contrary to my current musical goals. Full disclosure, I had been phoning it in on the solfege and conducting portion since about the third week. I was basically faking that portion just to receive credit for the course knowing that if I did ever put an effort into those skills it would be further down the road. There were many assignments where I had the opportunity to raise the grade if it was less than an A but I never cared enough to bother.
Despite this, I am endeavoring to forge ahead with ear training and I intend to make it a regular part of my practice schedule. I definitely learned something during this course and I want to capitalize on that instead of letting it atrophy like I did after the first ear training course. The big difference is that I can go at my pace, and at least for the time being I won't have to focus on the solfege and conducting like before.
In other news, it feels great to get back into a regular practice schedule. It's not only part of my development as a musician, it's been an integral part of my mental health and well being these many years and I was sorely missing it. A short term goal is to work on audition for the Berklee Online Guitar Program. I think I've settled on "The Spirit of Radio" for the electric piece and "Letter From Home" for the acoustic portion. We only have to submit one example but I thought I would perform each of these and then put it up for a vote on social media (assuming anyone would bother to listen & comment).
The sky was grey
When she left home
No plans were laid
And so she roamed
The streets grew dark
No stars shown out
Her belly growled
Heart filled with doubt
A path that angels
Fear to tread
Gathering storm clouds
Perched on a ledge
The air was thin
As her hope failed
Despair set in
And in a panic
A leap of faith
Caught in a web
With no escape
A path that angels
Fear to tread
Backed in a corner no escape
That day the sky turned sideways
Shrouded eyes blinded to the dawn
Heart breaking hope had come and gone
The floor was cold
Keep your head down
Do what you’re told
Don’t wander out
The house is watched
The gate locked tight
You will be caught
Mind your manners
One day soon
You’ll forsake hope
Someday she'd break this misery
Someday again she would be free
Downcast eyes hoping for the dawn
Body bound steadfast heart beat on
Outside the door
The rush of feet
A distant screaming
Out in the street
An empty hall
The gate stood open
With the road beyond
A headlong flight
Into the night
Today an end to misery
Today again she would be free
Eyes wide open racing towards the dawn
Pain behind steadfast heart beat strong
Wrapped in white linen
Walls far behind
Eyes on the stars
And in the end we will see
And in the end we will be free
Open eyes we welcome the dawn
Bathed in light steadfast hearts beat on
This turned out alright. I ended up starting over on the mix because I hadn't gain staged appropriately in the beginning. This version is where I quit working on it, not necessarily the definitive version but I'm okay with where it's at for now.
Hell Bent for the Cliff
The sea is rising we're casting seeds in fallow fields
Demagogues delude then doublecross in backroom deals
Arbiters of virtue claiming false dominion
Sycophants spinning vacuous validation
Can you feel it slipping away?
Fragile fibers start to fray
Hell bent for the cliff
Constitution in decay
Millions starving, they're making bombs from baby food jars
Exalting the grotesque, ignoring the stars
Fear, lies and hatred have stolen the narrative
Waging war on the weak instead of live and let live
So you chose to live and let die?
Universal truths you deny
Gatekeeper Gladys adorned in apparatus so fine
Bankers stealing our gold businessmen drinking our wine
Orange orangutan squats on the ivory throne
The beds are burning and we’re staring at our phones
Can you feel it slipping away?
Brittle bonds twist and break
Hell bent for the cliff
Constitution in decay
Mother, Mother I think they're going to build a wall
Nations rise and one day nations fall
Bent backs unbroken will stand again
A final reckoning comes to us all
Can’t you feel it slipping away?
Karma gets the final say
Hell bent for the cliff
Constitution in decay
So, I "finished" this version of the tune. I started to work on a video with After Effects but quickly became mired since I don't know the program yet. I decided to throw together a basic lyric video and post that to Youtube and share on Facebook. I'll start watching some AE tutorials here shortly once I finish this semester's homework and finally get around to filing my taxes. I plan on revisiting the tune in the future. There are definitely things I want to add as well as things I'll likely re-do, mainly the guitar solo. I'll probably let it gel for now and start working on another tune. I think some time away will give me a better perspective on the tune. I plan on restructuring the ramped up intro and adding some small electric guitar accents to the later verses. I also still wanted to double track with my Les Paul or something different from my strat just to add some more color.
I finally posted my Life On Mars cover video (version 3.5) to youtube and shared it on facebook. I decided to just post it as is in the weekend before I resumed my studies at Berklee. I knew I wouldn't have the luxury of time once classes got rolling. At the time I had a few run throughs of the mix, but planned on re-visiting the audio mix at the end of the semester. That's still the plan as of now. I've already learned a lot in the past few weeks so I'm confident I can obtain a much better result at that point.
I'm not happy with the musical performances, but they do represent what I was able to create given a short window of time. I performed most of the parts on individual days (I think I performed both the drums and bass on the same day?) and then worked on the audio mix and video edits on subsequent days. My approach for videos has been to keep performing entire takes until I get one that is acceptable and stopping there. I'll have to figure out tactics for punch in type approaches for video. Recording myself performing the music on video/audio is a complicated process and that's when I'm capturing complete live takes. If I were to attempt to capture punch ins like I can do with audio, that would add just another layer of complexity that I'm not really ready to take on for a cover video. I might consider this for my own music in the future, but then I would likely not try to present the performance as a continuous unedited take.
The response was generally positive from some close friends. I think the ones who actually took the time to comment were doing out of friendship as much as their actual enjoyment of the performance. I still appreciated it though, my overall ego is fairly bullet proof but my artist ego is a delicate flower at times. The musicians and musicophiles from whom I was hoping for feedback gave it the standard facebook "like" but didn't comment. I'm assuming that's their diplomatic way of telling me I need to keep working on my craft. And I appreciate that. My ears are good enough to know my version isn't going to make it on any top 100 Bowie Covers lists, for that matter it wouldn't make it on a top 100 Life On Mars covers list. But it's a work in progress and this represents a moment in time. A few short years ago I wouldn't have been capable of putting together, and I would have been lacking in the confidence to share it with anyone.
Work continues on the Life On Mars cover video. I actually had a "complete" version of all the music, and was relatively happy with it. But, in one of many learning points during this project, I gave a listen to the original (which I should have been doing more often) and realized my intro was just too fast of a tempo. I had tried various ways to approach the order in which I laid down tracks. I think drums first is still probably the best way, although in this tune they don't come in for the first minute. After learning that I really couldn't keep track of the drums while trying to play with the original, I tried using a midi version of the song with which I could include a click track and that seems the best approach.
There are multiple ways to approach this sort of incremental song construction. Due to problems with latency, it was important for me to keep the recording setup between the drums and my DAW as simple and uncluttered as possible. Latency is a killer with drums and percussion if you're trying to record in time. I managed to get a version down that was close enough for my satisfaction. I did end up making some minor timing corrections, mainly for the occasional rushed kick drum on the "and" of 4.
Probably the single biggest challenge of this project is that I'm recording to video. Making corrections to timing mistakes and the occasional clam note is easy in a DAW, but trying to get that synced up to video becomes exponentially harder. There are ways around this with creative video editing, but it was important to me that the foundation of the video was going to be good performances on all the parts as the baseline. Although I'm mainly doing this for my own entertainment (and internet points, because, internet points), I have felt this might serve as a sort of audition tape that I could use as needed for bands, further academic endeavors, etc.
My approach has been to keep attempting complete takes until I get one that's close to "perfect" (my version, not Rick Wakeman's). I then stop recording and know that I will use the last takes. In some cases this might be the 10th+ take overall.
Once I looked at the rough draft of the video performances and had worked on the mix (I was on version 14 or so), I realized I just wasn't going to be satisfied with my version if it didn't have the same vibe as the original. I never desired or expected to make a perfect note for note rendition that would sound exactly like the original, but I felt like my version was too rushed and too produced sounding. It was lacking the dynamics and character of the original, and that's kind of the whole point.
I resigned myself to have another go at the intro, as that was the biggest problem and I managed to have a "decent" go at the piano part yesterday. Although it was useable, I was suffering my version of a hangover after drinking four beers the previous day, and I wasn't giving myself the best opportunity for a good take. I also realized that my approach to the green screen needed some work. I've learned a small amount about videography, and one thing I've gathered is that your green screen needs to be as flat and "invisible" as possible and it needs to be lit appropriately.
Looking at my various takes, there was a variety of lighting and screen real estate occupied by my green screen backdrops. I think for my project, the best approach will be one where the green screen completely occupies the background. There may be future projects where I have the green screen as a sort of object in the background that doesn't necessarily fill up the screen.
All that being said, I need to re-shoot the entire thing so that I can have a consistent lighting and size for my green screen. I am learning to never see an individual performance as too precious. This is a growing process as I learn to accept not every take will be perfect, but become willing to keep trying until I get as close as I'm capable. I know when I've done my best, and that's usually when I'm just practicing or playing without the "red light". The good thing is that I've learned to get over red light syndrome because you can always make another attempt. Part of the comfort level comes from really knowing the part well and having confidence that you can play it right.
Tying in to that was finally settling on an arrangement from which I would build the song and giving myself time to practice it. I think I've decided on just playing the intro piano part independently without a rigid timekeeper and then locking in with the drums at the first chorus when they initially come in. I may tweak this as I discovered that the intro was fairly close to 113.5 beats per minute, but then it increases to 128 at the first chorus. It sort of slows down again at the end of the guitar interlude, but returns to that during the rest of the song. My dissatisfaction with the piano performance largely stemmed from timing and feel issues related to trying to play to a metronome/backing track when I had been accustomed to playing it more freely.
Dealing with this tempo change has been instructive and it gives me some experience for the future as this issue will come up again. I'm definitely convinced that you need to ensure you practice the piece exactly the way you intend to record it. This seems obvious, but in this case I had been playing the piano part for so long that I didn't think this would be much different. And it wasn't really, but it was different enough that my playing become too mechanical and lost the vibe.
As mentioned, I'm also planning on tweaking the camera setup. My plan now is to use my GoPro and iPhone cameras so I have at least two angles of each performance. This just adds another layer of complexity, but I always enjoy performance videos with multiple angles (if done well) more than just the simple straight ahead shots. The GoPro is ideally suited for "neck cam" on the guitar and bass, and I'll also be able to get some alternate overhead shots as well as a shot of kick drum performance (this will be used sparingly, but I like this angle on drum vids).
The ostensibly biggest obstacle in this project (famous last words) is getting the piano and drum performances down solid. These are the two that I tend to make the most mistakes (albeit few/small) compared to the vocals, guitar and bass. I find repeating takes of those performances is less arduous and time consuming than piano and drums. My plan is to approach it in this order - drums, piano, bass, vocals and guitar. My main reason to redo the bass & guitar is because I want the additional camera angles and I need to fix the way I use the green screen. I also need to help Aeyong install a window blind for our little half moon accent window which is still letting too much natural light in which can illuminate behind the screen and that's a problem.
Another impetus to repeating the entire process is that I've purchased my next equipment upgrade, which is the Slate Virtual Microphone System. This is comprised of a large diaphragm condenser microphone, preamp and a software based modeling system that models microphone, preamp, and compressor (as desired). This system was announced a few years ago, but it's just now hitting the market. I've heard all positive reviews so far, but I don't know that it's hit enough of a market saturation to be certain.
Based on the microphone alone and considering its price point ($1K), it's a good upgrade from Blue Baby Bottle (which is still a great mic) and should fill a niche for several years. Philosophically this system is the microphone equivalent of the AxeFx. As the technology has progressed over the years, modeling has narrowed the gap with analog gear, and most listeners don't know the difference. I've always embraced technology and I while I love analog gear, I also love the digital stuff for the flexibility, variety and power it provides. The three microphones it models (at onset, more will be added later) would be way beyond the wallets of all but the most successful (rich) producers. It models the Telefunken 251, Neumann U47 and Sony C800G microphones. Bought on the market (especially for classic versions), this three mic locker would likely run upwards of $50K. Of the reviews I've seen so far, people are having a difficult time telling the difference between the original and modeled versions. I'm not sure how much I buy that, but for the price and what's a decent sounding (extremely flat) microphone it's more than worth it. It will be interesting to try this new mic out on the vocals for this project.
There are more aspects to the video project to come, to include filming our dogs in various costumes against the green screen and the subsequent film editing and use of effects. These are all essentially new skill sets I will develop as part of this project. I'm always going to focus on music first, but an occasional video project is fun and a way to keep it interesting for the short modern attention spans (including mine).