Saturday, April 16, 2011

Deep Space Music: "Lullaby"

Occasionally, I like to compose and record completely dreamy space-music tracks.  


Back in the early eighties, I began listening to a radio program on NPR call "Music From the Hearts of Space".  This program showcased the kinds of artists that created this style of music, long before "New Age" became a "genre".  I used to record the programs which aired very late on Sunday night, and then play them back at bedtime every night.  To this day, I still listen to this kind of music pretty much every night at bedtime!  And although I don't still follow the program, I understand that HOS is still very popular.


So occasionally, I start playing with a very dreamy, atmospheric synth sound, and something like this piece is born.  I call this one "Lullaby", and I hope you enjoy it!



Monday, March 28, 2011

Rising Tide

Digital painting by Mitchell Mohrhauser, USA. Software: Photoshop.



Recently, Apple released the iPad 2 to much acclaim and hoopla, and they will no doubt sell a gazillion of them. I have been enjoying my iPad since July of last year when my wife sprung it on me for father's day. I use it mostly for reading books and blogs, surfing, facebooking and email.

Part of Apple's recent announcement included the release of GarageBand for iPad . Personally, I believe this achievement in software development is a much bigger game-changer than the iPad 2. The day it was released, I scarfed up my copy (for a whopping $4.99) from the App Store and started playing around. Though this is very much a "1.0 release" product, I expect Apple will probably build on this platform and use it to sell all manner of add-ons in the form of "in-app purchases" in much the same way as they sold all those "Jam Packs" to go along with original GarageBand (for Mac).

The second day I had the program, I spent about an hour putting this track together. I was sitting in the TV room with my wife and we were jumping from channel to channel soaking up news of the recent catastrophic events in Japan, and looking at videos on the internet as well.  Disturbing and surreal.  Shocking and startling.  So much damage...so many people affected...words just don't do it justice. So if this track, which I call "Rising Tide", sounds a bit dark and foreboding, well now you know why.

It wasn't until days later that I realized how much this track sounds like the intro to the Genesis song "Mama".  Completely unintentional!

Apple promises a future update to GarageBand for Mac that will allow you to start a track on the iPad and resume working on it on the Mac, in GarageBand OR in Logic Studio, my confirmed DAW of choice. While this feature isn't there yet, when it does come I suspect that the iPad will finally find a place in the heart of many composers....as a "scratch pad" tool that can be used anytime, anywhere an idea strikes. Very compelling.

So, here is my first track composed and recorded completely on the iPad. "Rising Tide". Enjoy!





March 31, 2001 update!

An update to GarageBand (for Mac) has been released, as promised!


Yep, all I had to do was apply this update, then when I launched GB to open the "Rising Tide.band" file I transferred from my iPad via iTunes, I got this message:


And sure enough, after 10 minutes or so, the project opened.  And it played FLAWLESSLY.  It sounded EXACTLY like on the iPad (well, better I suppose since the Audio on this iMac is high-end) and it allowed me to do all the wonderful edits GB provides:


Pretty bloody amazing, actually.  Now you really CAN use GB for iPad as a mobile musical sketch-pad, and then continue building on your idea with all of the instruments and editing features offered by GB on the Mac, which is an awful lot.

Although GB projects on the Mac can normally be freely opened in Logic, sadly this is not yet the case for these GB for iPad projects.  When I tried to open the saved GB file in Logic, it said the "GB Synth" instrument was not found, and that this project had been created with a "new version of Logic".  So, I guess there is a Logic update coming down the pike soon that will bring all of this together.  Can't wait!

Actually, I could continue to edit the project in Logic and save it there, I would just have to pick a different Logic instrument (or AU plugin) to replace the missing "GB Synth".  Not a big deal if I really wanted to continue working on this track.  But, for now, I think I will let the iPad version stand on it's own two feet for the sake of this blog post.

Last year, I took a Laptop, small keyboard, audio interface, headphones and USB hub with iLok and e-Licenser dongles on vacation with us, just in case inspiration struck!  This year, I will be able to travel a bit lighter and just take the iPad and some earbuds.  Nice.

Tuesday, March 15, 2011

Excursions

ex·cur·sion  (Ĭk-skûr′zhən) n.
[Latin excursiō, excursiōn-, from excursus, past participle of excurrere, to run out : ex-, ex- + currere, to run; see kers- in Indo-European roots.]
  • A usually short journey made for pleasure; an outing.
  • Organized outing to a specific place of interest.
  • A side trip, usually short, made with the intention of returning to the starting location
  • Round-trip completed within a specified period of time.
  • digression: wandering from the main path of a journey
  • The movement of the cone or diaphragm of a speaker. Higher volts or amps will increase excursion.
  • Lateral movement of a well logging curve or trace in response to a galvanometer deflection. "Excursion" is often referred to as deflection.
  • Moving the jaw from side to side
  • A range of movement regularly of a joint or muscle
  • The Excursion by William Wordsworth, published in 1814, in nine books, a philosophical poem which shows his disillusion with the French Revolution
  • Excursions, Op. 20, is the first published solo piano piece by Samuel Barber.
  • Excursions is the latest track by "Fragile Forest" (aka John S. Hagewood), produced entirely in Apple Logic using a variety of virtual instruments including Kontakt, Omnisphere, EZ Drummer, Moog Modular V, M-Tron Pro, Korg Mono-Poly and B4II.

enjoy!




Thursday, February 24, 2011

Piano Idea Two

It's been too long since I last wrote something here, and a lot has been going on in Hybernation Studio. Since getting "Mac Fever" a few months ago, Pro Tools 9 was released to much acclaim. I finally scored my upgrade copy a few weeks ago and I was and remain very impressed with this update to the standard in digital audio workstations.

I was also again impressed by how much more stable Pro Tools is on my under-powered iMac than my honking quad-core PC. And I was missing using Apple's Logic DAW. You see, in December when I was recording my "Big Christmas Production", I realized quickly that I had to revert to the PC, since the iMac was just not powerful enough for all those tracks. Since then I have also been working on several other compositions, and experiencing the same thing...I start them on the iMac, and then have to port them to the PC once I exceed eight tracks or so. And since Apple Logic is a "Mac Only" program, well, I just wasn't able to use it, so I have been using Pro Tools almost exclusively.

That is until Valentines Day came. My incredible wife insisted that I let her treat me to the "iMac of my dreams", and how could I argue? So I scored a 27" iMac with a quad-core i7 processor, 12GB of memory, and a 2TB hard-drive. This is one amazing and beautiful machine, and now I'm able to port those projects BACK from the PC and work on them on this amazing machine. And it looks and feels absolutely amazing!


But I'm still in the "Pro Tools vs. Logic debate" internally. Logic is incredibly intuitive (like the Cakewalk/Sonar I grew up with), and it's way more CPU-efficient than Pro Tools. And Logic now has a full 64-bit version, so those extra 8GB of memory don't go to waste! (Pro Tools 9 is STILL only a 32-bit program, so it can only address 4GB of memory at the most). So, I have begun to re-explore Logic, and I'm reading another book on the subject and planning on starting and finishing all new projects in Logic for the time being.

This little project I'm posting tonight was one of those 10-minute deals. I had Propellerhead's Record/Reason up on the new iMac, I thought of a quick idea, and I played around with it for 5 minutes, building up a little arrangement in my head. Then I hit record and played it through, only to notice that I didn't really hit record. Then I REALLY hit record and played it through, and that was IT! Done.

I posted the rough mix on Facebook and got some positive feedback, so this lead me, tonight, to import the MIDI file into Logic and remix it. I removed four notes that seemed superfluous, added some compression and EQ, and chose a different piano sound. Ironically, after auditioning several of my favorite multi-gigabyte pianos from SampleTekk, none of them seemed quite right. I ended up going back to Reason and using Sonic Reality's new refill called "Classic Rock Piano". I added IK Multimedia's T-Racks 3 Vintage Compressor 370 to the master buss, and bounced the Rewire track down to audio prior to mixing. The whole thing took me less time to accomplish than to type the last few paragraphs. Like I said "intuitive".

Here is what Logic looked like when I was done:


So, here is "Piano Idea Two", an exercise in simplicity.



Saturday, December 18, 2010

I Believe In Father Christmas


If you have been reading my blog for the last few years, you probably know how I feel about Christmas, since I have blogged about it before.  I suppose having two children has probably softened me up a little bit about this whole Christmas thing :-)

Last year, I got kind of deep and personal, and posted a synthesized rendition of one of my favorite carols, "What Child Is This".

In 2008, I posted a much less serious cover of Peter Tchaikovsky's "Dance of the Sugar Plum Fairies" (be sure to listen to it all, as it has a surprise genre-spanning ended).

Doing "cover tunes" is fun.  I don't do it that often, but I always learn from the experience.  This time, I actually learned a song (note-for-note) that I have always loved, and previously only dabbled with.  I did the entire learning and recording session in one four-hour span, with a single hour-long follow-up session of final overdubs and the mixdown.  The song is "I Believe In Father Christmas", recorded and released by Greg Lake in 1975, and then again by Emerson, Lake and Palmer in 1977, and yet again in 1993.  In addition to the Wikipedia link above, you can read more trivia about this song, and about the controversy it created at this songfacts link.

Bottom line is, I believe that lyricist Peter Sinfield left the lyrics to this song ambiguous on purpose.  Unlike some of his other blatantly atheistic lyrics (for instance, in ELP's "The Only Way" from the album "Tarkus") the lyrics to Father Christmas, the middle verse anyway, can be interpreted several ways.  In an attempt to make my version a little less ambiguous, I altered the lyrics in very subtle ways (just one word really, and a couple of pronoun substitutions is all, hardly worth mentioned actually...in fact, forget I mentioned it).

I will let you draw your own conclusions.  I hope you enjoy my rendition of this timeless holiday classic.  The lyrics, as I sang them, are posted just below the song links.




I Believe In Father Christmas (Lake/Sinfield)

They said there'll be snow at Christmas
They said there'll be peace on earth
But instead it just kept on raining
A veil of tears for the virgin's birth
I remember one Christmas morning
A winters light and a distant choir
And the peal of a bell and that Christmas tree smell
And their eyes full of tinsel and fire

They sold me a dream of Christmas
They sold me a silent night
And they told me the fairy stories
Still I believe in the Israelite
But they believed in father Christmas
And they looked at the sky with excited eyes
'till they woke with a yawn in the first light of dawn
And they saw him and through his disguise

I wish you a hopeful Christmas
I wish you a brave new year
All anguish pain and sadness
Leave your heart and let your road be clear
They said there'll be snow at Christmas
They said there'll be peace on earth
Hallelujah noel be it heaven or hell
The Christmas we get we deserve


Wednesday, November 24, 2010

First track done on my Mac


Yep, you heard that right.  Hybernation Studio now has a Mac.  A 21.5" iMac with an Intel Core 2 Duo processor running at 2.66gHz, with 4GB of RAM, to be specific.

I bought this used machine on a whim for a paltry $600, from a friend who no longer needed it after getting himself a MacBook Pro.  I was thinking it would just be an experiment.  A Toy.  Something to mess with, and entertain the kids with using Photo Booth.

Little did I know I would fall in love with this unbelievably stable platform.  I've been a PC user for my entire life, and have always stood by them.  I still love them.  Windows 7 64-bit is, without a doubt, the best and most stable Windows platform ever.  But, now I see why everyone was telling me I needed to try a Mac.

So of course now I am wanting a full-blown 27" Core i7 iMac pretty bad, after acquiring Apple's DAW program "Logic Express".  Logic is so intuitive and feature-rich.  And incredibly stable.  I believe it is my new favorite DAW, edging out Pro Tools.  So, I'm willing to live with the somewhat limited hardware of this current Mac I own (compared to my quad-core PC) and will probably continue to use it as the platform of choice for composing, just because it's so incredibly stable, and Logic is so unbelievably productive for me.  "It just works".  Help, I'm turning into a Mac Fanboy!

This track is the first one I recorded completely in Logic on the Mac.  Enjoy!



here is a direct link to the mp3 for non-shockwave environments

Friday, May 14, 2010

Jamming on Indian instruments




I've always liked the sound of the "trademark" Indian instruments such as Tanpura, Sitar and Tabla.  Well at least since I was a youngster and first heard George Harrison experimenting with them to great effect.  So I was delighted last year when Native Instruments released their Kore Soundpack entitled "North India", which contained these and other Indian instruments.  I won't say they are "authentic" because, to be honest, I wouldn't really have any way of knowing!  But they advertise that they are, and they sure sound that way to me.

This track was just me experimenting with the three instruments that I mention above, and then layering in some more conventional western sounds....synthesized voices, electric guitar, drums, percussion and big Moog Synth bass.  I must warn you that this track doesn't really "go" anywhere, it just presents a few simple melodies and provides an ambiance that is a blend of eastern and western tonalities.

I tried to get my son Jonathan to "name that track" a few days ago in the car, playing him an earlier mix.  When he first heard the "vocal synth drone" part he said "Hey Daddy, that sounds like a bunch of Indian guys burping!".  Funny, but not a great title for the track.  I couldn't think of anything either, so I just stuck with my working title, which was "Jamming India".

Enjoy!


here is a direct link to the mp3 for non-shockwave environments

Sunday, April 25, 2010

The original version of "Passage"



I have blogged quite a lot about this composition in the past, which you can read here, and also referenced here and most recently here.

I decided it would be good to record the "original version" as it was composed for that Freshman Composition class at the Belmont College School of Music in 1979. This is pretty much exactly what I heard in my head at the time, and the music is exactly what I played for the class (if my 30 year old memory can be trusted). As I mentioned previously, I eventually want to showcase the entire "Suite" of "Serious Compositions" which I wrote between 1979 and sometime in the early 80's in a single blog post, and I only have a few more pieces to record before I can do that. But this is the piece of music that started it all, and this was my very first attempt at actually "composing" (not to be confused with the art of "songwriting" which I gave up on years ago!).

Recently, my amazing wife insisted I buy myself a really top-end laptop computer on which I can do my music "anywhere, anytime". After looking around at commercial laptops such as Dell, HP, Toshiba, etc, and reading music blogs (including many horror stories) and otherwise researching this, I decided to stick with ADK Pro Audio, where I purchased my main studio computer over two years ago. I have nothing but great things to say about Scott and his whole crew based on my past experiences...they are fabulous people with a passion for great, continuing customer support long after the sale. They sell computer systems specifically for the Digital Audio market, and they are extremely well respected in their field. Scott fixed me up with a killer laptop based on an Intel Core i7 M620 processor, with 8GB RAM and all the fixings, as we say here in the south (the "K" in ADK does stand for "Kentucky" after all!).

I was thinking that this new addition to "Studio B" would give me the ability to "start things", but that I would probably still transfer the projects down to "Studio A" to finish them. Well, I had no idea how much processor speeds have improved in the two years since I bought my quad-core machine from ADK! This laptop will do everything my big machine will do, and without breaking a sweat. It actually runs Pro Tools better than the other machine (still not completely sure why that is).

I recorded this version of "Passage" in Pro Tools 8 M-Powered using Kontakt 4 for the Rhodes and CP-80 piano sample that makes up the main "piano" part. The synths you hear are all from the CPU-hungry folks at Arturia, specifically the Moog Modular V (Taurus bass sound), the Jupiter V (String machine sound), and the Arp 2600 V (lead sound). I laid on the mastering and EQ plugins pretty heavy while mixing this down, and saw my CPU meter holding steady at less than 20%. Amazing.

In the few weeks since Studio B got this upgrade, I've only spent a couple of hours in studio A! I actually did start and finish this piece completely on my new laptop. Amazing technology. What a great time it is for musicians to be alive.

A HUGE "THANK YOU" to my lovely and amazing wife LoriLea for upgrading "Studio B"!

Hope you enjoy this "Original Version" of "Passage", composed in the 20th century...recorded well into the 21st!



here is a direct link to the mp3 for non-shockwave environments

Thursday, April 01, 2010

Proclamation



The year was 1981. February. I had been on the road touring with "Amy and Members Only" for several months, my first "professional musician" job. We landed this really sweet gig in Stratton, Vermont, where Olympic skiers train, to play a one night party for the U.S. Olympic Team. Payment was 6 days worth of lift tickets and lodging in a huge chalet for the whole band.

First day there, me and the bass player, Dow Tomlin, took some skiing lessons, since we were the only two newbies. It went pretty well, and by the end of the day we were doing the beginners slopes, him more successfully than me by far. I have never had a good sense of balance, and NOTHING about downhill skiing felt intuitive to me (plus I hadn't and still haven't ever been water skiing). I could get down and only have 3 or 4 major falls or tree crashes with each run.

Second day there, back at it that morning, my hardware kept malfunctioning and one or both skis would pop off when I would put any stress on them. They tried to tune them twice but it kept happening to me. Then it happened at a very bad time and I took a horrible fall, dislocating my "trick shoulder" which I had major surgery on just 18 months prior. Not good. As I writhed in the snow in excruciating pain, bellowing at the top of my lungs, I was finally able to pop it in myself, and then I somehow got down the rest of the way and went to see the on-site doctor. Well, he took one look at my surgical scar and dished out a huge bottle of pain-killlers. No more skiing for me this week.

With several days alone in the chalet with my keyboards, I decided to continue composing additional sections to the suite of "serious music" that I had started in college, and which I blogged about here and here. I had actually started a slow and very melodic piano-solo piece and finished it in my head for a third "movement", but since I couldn't actually play very well with my arm in a sling, I started writing a fourth movement, one I envisioned as being a very strong Proclamation of life.

I stumbled upon some very cool chords...the right hand playing F major and Bb major, over the left hand playing Bb and Eb (a 4th higher than the tonic). Sounded very progressive to me at the time...still does actually. Probably borrows quite heavily from Keith Emerson and Aaron Copeland, not surprisingly. Some shifting time signatures, and then a B-section in 5/4. I wrote it all down on staff paper, and got very excited about this piece. I remember that the guitar player, Dan Searles, loved the B-section and couldn't get enough of it. That is, until I kept playing (through headphones of course) after everyone else crashed. They would yell down, "Hey John, that clunky sound is keeping us awake" -- me banging the keys!

The amazing thing is that I have managed to keep up with the hand-written scores of this piece for the last 30 years. You can view the A-section here...and the B-Section here. Notice the pretentiousness on page one: "Sonata #1 for Polyphonic Synthesizer and Piano". LOL!!! and "Part 1 - Exposition". Ah youth...pretentious and didn't care a bit.

Now, those of you that listened to the the song "Passage" earlier may notice that the final section of Passage is exactly like the B-section of this piece, Proclamation. Here is the story. Originally, Passage was JUST the A-section, repeated twice. It only had to be 16 measures long to meet the requirements of the Freshman Music Comp class! But as the years went by and I continued to work on this "suite", I started playing a "reprise" version of Passage that ended with the 5/4 section of Proclamation, and that is actually what I recorded a few months ago for that other posting. Perhaps soon I will record the original Passage and the other three pieces in the suite and put them all up on one page so they can be listened to in order.

Anyway, for tonight, here is "Proclamation". Enjoy



here is a direct link to the mp3 for non-shockwave environments


Painting courtesy of Ken Ahlering

Monday, January 18, 2010

Pulsation - first new track for 2010

Here is a happy little tune I tossed together in Ableton Live 8 the other night, using Rob Papan's Blue and Predator synths, joined by an Absynth5 pad sound processed through a trippy CamelSpace effect, Arturia's Arp 2600V and using the Roland TB-303 sounds from the Electronic Expansion for EZDrummer.

Ableton Live 8 is yet another contender in the "great DAW race" at Hybernation Music. I've have had a copy of Live "Lite" for years which I got for free with an audio interface. When Live Lite 8 came out last year I thought I would give it another try. Their integration with Propellerhead's Reason is very good, second only to Pro Tools 8, but their real claim to fame with "Live" is the "Session View", which is an interactive clip-based way of working that lends itself to spontaneity and the whole "DJ" thing. While the "DJ" thing interests me not in the least, I do always appreciate experimenting with other ways of working while composing which might produce ideas that otherwise wouldn't be realized, and Live 8 definitely offers that!

Ableton Live 8 Session View
Ableton Live 8 Session View

So I began this piece by recording several bubbly little pulsating parts into the Session View and chaining them together that way. As this evolved into no less than 5 of these parts coming and going, I then added the lead lines using the more conventional "Arrangement View" which works pretty much the way all the other "linear" DAW's do. Having used a very simple "guide track" for the electronic drums, I then had a great time auditioning various TB-303 patterns in EZDrummer and stringing my favorite ones together to create the finished drum part.

This whole process took about 3 hours, spread out over 2 nights.

I wondered after-the-fact if it needed a proper "bass part", but I didn't labor over the idea. I just decided to mix it down and get on with it. So here it is. I call it "Pulsation". Enjoy!



here is a direct link to the mp3 for non-shockwave environments

Wednesday, December 23, 2009

What Child Is This ?

I've never been a big fan of Christmas. Ask anyone who knows me and they'll say I'm a scrooge, and I suppose they are right. Part of this is most likely due to the sad fact that December 25th is also my birthday. For the most part, this was a huge rip-off when I was younger. Did I get twice the gifts at Christmas time as people often suggested? No, I was lucky if people even remembered my birthday. And the whole Santa Claus thing has always totally ticked me off...people basically lying to their kids and trying to get them to really believe this whole pagan fantasy thing, whilst side-lining the REAL reason for Christmas: Christ.

But that's not the whole story. Some of my most stressful and sad memories were formed during the holidays. Seems like a lot of people die around this time of year, and we also tend do a lot of "reflecting" as the year-end draws close, making us miss people who died during the year, or even years before.

And then there is the shopping, and the traffic, and the crappy weather that sets in this time of year in Nashville (cold, gray, wet and hardly ever white). And worst of all, there are the "Social Events" and all the STRESS that they bring with them. Yep, I must admit, I pretty much hate it. "You're a mean one, Mr. Grinch".

But then, musically, I do have this little soft spot for it. There's the "Carol Candlelight" services that are always beautiful and awe inspiring. There's the radio playing John Lennon's "Happy Christmas (War is Over)" and ELP's "I Believe in Father Christmas". I even like the Carpenters' "Merry Christmas Darling" (shhhh, don't tell). And although I despise the horrendous "Christmas elevator music" you hear while shopping, there have been many good Christmas albums I have listened to over the years. Just last year I discovered what has to be the most unique one ever, an album called "Chris Squire's Swiss Choir" which blends an adult choir from Switzerland with Yes bassist Chris Squire's arranging a vocal skill, along with some other great progressive rock players. Great stuff.



Of course the real reason for Christmas is important and vital. I believe that choosing to have a personal relationship with Jesus Christ is the most important decision a person can ever make.

As we celebrate the birth of Jesus, we should also celebrate the Reason for his coming, and how much his life and sacrifice means to mankind. It is everything. He is the way, the truth, and the light, and yes for a time he was also a precious, helpless baby.

What child is this?
Emmanuel. God is with us. The word become flesh.



here is a direct link to the mp3 for non-shockwave environments


What child is this, who, laid to rest
On Mary's lap, is sleeping?
Whom angels greet with anthems sweet,
While shepherds watch are keeping?

This, this is Christ the King,
Whom shepherds guard and angels sing:
Haste, haste to bring him laud,
The Babe, the Son of Mary!

Why lies he in such mean estate
Where ox and ass are feeding?
Good Christian, fear for sinners here,
The silent Word is pleasing.

So bring Him incense, gold, and myrrh,
Come peasant king to own Him,
The King of kings, salvation brings,
Let loving hearts enthrone Him.

Raise, raise the song on high,
The Virgin sings her lullaby:
Joy, joy, for Christ is born,
The Babe, the Son of Mary!



Friday, December 18, 2009

It isn't ALL about computer music here at Hybernation Studio!



Just so you know, I do have a few vintage instruments (and otherwise non-computerized things) here at Hybernation Studio.

Pictured above is a 1956 Hammond M3 organ, recently acquired from my good friend and musician extraordinaire Dan Tracey. On the bench is the Ovation acoustic/electric guitar I bought just before my son was born 6 years ago.



And left over from my days on the road, above is my 1980 model Rhodes 88 Suitcase. After carrying this beast all over the country for three years, I just couldn't bear to part with it (not for a fraction of the purchase price anyway). Honestly though, nothing else sounds like a real Rhodes (or Hammond for that matter). Though I seldom use these two vintage keyboards in recordings, it's still nice to have them around to provide that "vintage vibe" to my recording space.

Tuesday, December 08, 2009

Imagine...it's been 29 years



In December of 1980, I had just dropped out of college as a music major to join a traveling top-40 band. We spent the holidays learning five sets of music prior to beginning what would be my first tour, and the beginning of my 3-year stint as a "Professional Lounge Musician".

We had to learn a wide variety of music for the types of clubs we would be playing, not just the current "top 40" and "dance" music, but also a "dinner set" (the early set) which needed to contain mostly laid back stuff and ballads. I suggested we learn "Imagine" by John Lennon, and everyone agreed it would be a good one....so we did. I sang it. In my mind, this was to be one of the high-points in the evening gigs. This was not to be...for a while.

About 3 weeks before the end of our 8 week rehearsal period, I walked into rehearsal to a bunch of very sad people. I was not into "news" so I hadn't a clue what had transpired the evening before, on December 8th, 1980. John Lennon had been shot and killed outside his home in New York City. An icon...no, a living legend was gone. I was devastated, and we all agreed to can rehearsal for that evening. I cried...a lot. I got very drunk. Then I cried some more. For days it seemed. I tried to watch some of the "tributes" and such that were on TV, but I couldn't. Every time "Imagine" came on the radio, for weeks to come in fact, I cried.

Since age 8 in 1969, I had been a huge Beatles fan. My first two LP's were "Let It Be" and "The Beatles Again" (the US-only LP that was a collection of singles, including included "Hey Jude", "Paperback Writer", and "Lady Madonna"). I had always said that Paul was my favorite Beatle...his first solo album was the 3rd LP I acquired. But I loved plenty of John's songs as well, and I always held out hope that they would re-form in the 80's, and conquer the world all over again. I was actually quite SURE that this would happen. When John "retired" in NYC I got a little worried, but then those rumors of "what almost happened" on Saturday Night Live kept the flame alive.



With John's passing, part of me died. No chance of a Beatles reunion now, for one thing. For another, I carried around this visceral fear and loathing for this type of evil that I never really admitted, before now, could exist in the world. How could ANYONE be so evil as to deprive the world of someone like John Lennon? It was just unimaginable.

Even five years later, I recall seeing TV shows marking the December 8th date and crying. My sadness was not for myself, or for John, or Julian, Sean or Yoko. My sadness was for a world so pathetic that something like this could happen. For a world that would never again know the magical synergy that was The Beatles. I'm sure I sound like I'm being overly dramatic here, but as I write this, the feelings are as fresh and real as they were 29 years ago.



So flash back to the spring of 1981. After three months on the road with "Members Only", a show band fronted by singer Amy Runion, the band started asking me, "hey can we go ahead and play Imagine now". I said I would try. The first few nights were hard, but I made it through, then it got easier. We didn't waste this song on the "dinner set", which was often played for 3 people, 2 of them waitresses. We actually saved it for a "slow dance" number in the rocking-out last set, and it was amazing to see the dance floor FLOOD with people during the first few chords of the song.

People LOVED it. Almost every night, I had someone come up to me after the last set was over and tell me how much they enjoyed us playing "Imagine". Some said "I've never heard a band play that song in a club". Some people begged us to play it one more time before we went home. During the summer of 1980 when we spent 12 weeks at the same resort, we began to get requests for "Imagine" from the regulars, and would sometimes end up playing it 3 times in one evening!

All for this little three minute song with about 6 chords in it. This simple little ode to world peace, written by a man who may have actually been capable of furthering that concept, had he not been so rudely interrupted.



"Members Only" was Randy Runion, Dow Tomlin, Amy Runion, me and Dan Searles



I first recorded "Imagine" almost four years ago, but I was never happy with the mix. Listening back to that original mix which you can hear here, I can't believe how bad it sounds to me now. So, I decided recently to completely remix it. I think the new mix is light-years better than what I produced originally.

All the MIDI parts (just 5) were recorded with new virtual instruments. The biggest difference there is that the modern "pad synth" sound was replaced with a more retro sounding "Mellotron Strings" sound, produced by IK Multimedia's SampleTron.

The Hammond is a different sound altogether, a sound called "Preston!" from Native Instruments B4II, obviously named after Billy Preston, a man often referred to as "The Fifth Beatle". The bass guitar sample is a vastly superior sound to what I had back then, a 3GB sample of a Fender Precision from Native Instruments called the Scarbee Pre-Bass. The drums are the EZDrummer engine playing the "Nashville" expansion, while the drum part itself is me playing drums on the keyboard, as recorded back then. In fact, ALL of the actual MIDI notes are exactly what I played back then with no editing. For the Piano, I used the same sample as before (a 7GB sample of an upright piano from SampleTekk called "Vertical Pop"). And the vocals are the same tracks as before. They were recorded using an AKG C3000B microphone through an older DBX tube pre-amp.

So, I imported all of this into Pro Tools 8 M-Powered (which I should probably admit is fast becoming my DAW of choice, over both Cubase 5 and Sonar 8) and started completely over on the mix. First re-working the MIDI instruments used, then completely re-thinking the vocal effects and the effects on the instruments. I used a LOT less reverb on everything, in fact the piano, bass and organ are completely dry, and there is some intentionally fake-sounding reverb on the Tron (to give that Moody Blues strings effect)....I was going for a real "live-in-the-room-with-you" band sound.

For the vocals, I used a rather complex (for me) effect chain of EQ + compressor + De-Esser + Reverb.

I left every bit of the "slop" in the timing on the MIDI parts and didn't fix a thing. I was tempted on a couple of parts where the bass and kick are not completely tight, and especially tempted to just completely quantize the drum part, but I resisted the urge. I wanted this to sound natural....like me in the studio laying down this classic track with very little editing or other studio trickery. And it is.

I hope you enjoy my latest rendition of John Lennon's timeless classic, "Imagine".



here is a direct link to the mp3 for non-shockwave environments


Monday, October 19, 2009

Scary, my elbow is giving me song ideas



Scary things happen in the studio sometimes. Usually it's late at night, but this time it was Saturday afternoon. I was messing around with Ultra Analog VA-1, which I raved about in an earlier blog post. I was diligently trying to get it's sounds to load up in Native Instruments Kore2, and not having much luck. While Kore2 was doing an exhausting and subsequently futile scan of my whole hard drive, I leaned forward and rested my elbow on the keyboard, and my chin on my hand (you know, the famous pose of "The Thinker" statue, only in front of a keyboard (the kind with 88 black and white keys) and two 24 inch monitors...

Well, my elbow held down three simple notes, the A, B, and C right there at middle-C on the keys, and VA-1 was on the initial sound, an arpeggiated sound that was the starting point for the song in that other post mentioned above. What emanated from my headphones was a mesmerizing little figure in 9/8, actualy A-B-C repeated as eight notes in three ascending octaves. Well, it immediately sounded like something in the key of A minor to me, so I reached over to my hardware keyboards and started jamming. Yes, I still have some of those hardware keyboards around, the kind that make sound all on their own without being hooked up to a computer: an Alesis QS 8.1 and a Roland VR-760 (which incidentally, Neal Morse plays live).

Later that afternoon, I couldn't get that little figure out of my head, so I fired up Pro Tools and recorded a bit of it. Then I started playing with the Boom drum machine plugin, or "dumb machine" as drumming legend Chester Thompson once referred to them in a clinic appearance I attended. Rather than using any canned patterns in Boom, I wanted to play some things in real-time and loop them, and I actually created three separate instrument tracks with three different Boom sounds on them. Then I realized just how hard it is to play along to something in 9/8 when each eighth note has the same accent amount. Impossible. There is no meter. Where the heck is the downbeat?

Actually, the effect I got was kind of cool, in an Alan Parsons sort of way. I love the way "I Robot" starts....you can't figure out "where one is" until the drums finally kick in. I sort of recreated this effect by playing several drum patterns at the beginning that were definitely NOT in 9/8, and then after a few bars it all comes together and syncs up.

The track rundown showing plugins used looks like this:
  1. Ultra Analog VA-1 - Arpeggios
  2. Boom - basic rhythm
  3. Boom - "Urban" fills
  4. Boom - kick/clap sound ala Peter Gabriel
  5. EZDrummer Latin Percussion - shakers
  6. EZDrummer Latin Percussion - wind chimes and fills
  7. Vacuum Synth - Bass
  8. Ultra Analog VA-1 - spooky lead sound
  9. Structure - String sound, a mix of real and synthesized
  10. Xpand!2 - Electric Guitar
  11. Rob Papen's Blue - Phased Synth Pad
As usual lately, I played this track for my son Jonathan first, just this afternoon, and ask him to help me name it. After he heard the whole song, I soloed the "spooky lead synth" sound and said "doesn't that sound kind of spooky". He said "let's call it Haunted House". Alright then, just in time for Halloween, here is "Haunted House".



here is a direct link to the mp3 for non-shockwave environments

Friday, October 02, 2009

Winter Dream

Yes, I know it's not winter yet...in fact it's turning into a beautiful fall here in Middle Tennessee, and I'm in no hurry for winter to get here! But I continue to let my son Jonathan name my tracks as I finish them and audition the early mixes in the car with him. He decided this one was to be called "Winter Dream", so who am I to argue?

I started this track using Reason 4.0 in "Studio B" about a year ago. After laying out the initial parts and the haunting piano melody, I thought it had a striking resemblance to something that Patrick O'Hearn might have been doing in about 1989. So my working title was "O'Hurt Me". Often my working titles make no sense at all to anyone but me.

Recently the final version of Propellerhead's Record 1.0 software, which I raved about in an earlier post, arrived in my mailbox and so the last few weeks I've been having a bit of a "battle of the DAW's" here in Hybernation Studio. I seem to be rotating projects between Pro Tools, Cubase and Record! This track I finished in Record, since importing the Reason 4.0 file and converting to Record's format is so easy. In fact "easy" is the one word that perfectly describes Propellerhead's new product. Anything I want to do, for the most part, I can figure out within a couple of minutes without ever looking at the manual. With Pro Tools and Cubase, I am continually referencing the copious documentation (granted they are both deeper programs than Record). But with Record, they really went out of their way to make the software incredibly easy to use and intuitive. And it still manages to be a very powerful and professional tool.

So, this is officially the first track that I have completed using Record. This is also another first....the first track I have ever actually PLAYED all of the drums on...on my Roland V-Drum kit, triggering drums sounds from the Reason Drum Kit Refill 2.0. I'm not talking about the many percussion tracks, just the "rock drums" that come in the "B section" and again at the end of the song. Ok, so it's primarily just the kick and snare, and some cymbals, but it really is "all me" playing them. Alright, I admit I did quantize the part later to clean up the timing, and I edited a few mistakes, but other than that...

Alright granted, Alan White and Bill Bruford don't have anything to worry about. Learning to play drums is hard, they say especially so for keyboard players. I've only been at it for about four years. Really makes me miss Alan, trying to pound it out myself.

Record is different from Cubase and Sonar in one large way: everything happens in just three windows. I usually put the "track" window on the left monitor:


And then I put the "rack" and "mixer" windows side by side on the right monitor:




As I explained previously, the "virtual mixer" in Record is quite awesome, it being modeled after the classic Solid State Logic XL 9000 K Series, a piece of kit that will run you in the hundreds of thousands of dollars. I'm not really an audiophile with "golden ears" but I can tell you that this mixer sounds very good for what it is. The only thing I can't really come to grips with is the "master buss compression". I just couldn't make it do what I wanted on the final mix. So I ended up exporting out a 24-bit WAV file (uncompressed) of the final mix, importing this into Sonar and using the excellent Voxengo Elephant plugin to "master" the song, adding compression and limiting. This plugin is amazingly transparent, giving you that "loud" sound without colorizing the mix in any way.

I should also mention that this track resembles the one I call "Ancient Violence" in several ways. I believe I actually had that 20 year old composition in mind when I started this one, intentionally going for the same kind of vibe. I guess there is no law against ripping off oneself is there!

Here is "Winter Dream". Enjoy...and stay warm.



here is a direct link to the mp3 for non-shockwave environments

Wednesday, September 23, 2009

One Lonely Desert (giving Pro Tools another try)



Pro Tools and the company behind it, Avid/Digidesign, has been in the news a bit lately. It's really pretty amazing actually, that a company that until recently only catered to "Music Industry Professionals" has done an about face in just a few years. It started a number of years ago when they began selling Pro Tools LE and their series of project studio interfaces. Given a decent Mac or PC, one could get into a system like this for way less than the original Pro Tools "HD" systems. Like $1K to $4K for an LE system (even less later) compared to something in the $10K to $40K price range for the HD systems that practically all major recording studios run. With Pro Tools LE, like the more expensive HD systems, you bought the rather pricey interface and the software came bundled with it.

Then came the software only "Pro Tools M-Powered", which is what I own, which is basically Pro Tools LE designed to run on the more generic M-Audio interfaces instead of the proprietary Digidesign ones that only run Pro Tools. As I've said before, it's really quite a lot of DAW power for the money ($249). I'm running it on a $99 M-Audio Audiophile 2496 Interface (which also runs Cubase, Sonar, etc). This was a version of Pro Tools for the project studio person who already owned an M-Audio interface, either FireWire, USB or PCI (of which there are many, and they have been popular for quite some time).

But in the last couple of weeks, things have REALLY changed. M-Audio is now selling something called "Pro Tools Essentials" which is a limited version of Pro Tools M-Powered that is bundled with several different pieces of M-Audio hardware, targeted squarely at beginners. This is truly "Garage Band meets Pro Tools"...Pro Tools for the masses...and you can now buy these packages for $99 to $149 at places like Best Buy, just one aisle over from that silly "Rock Band" and "Guitar Hero" trash that kids are going nuts over. From a marketing perspective, it's really quite clever: those 9 to 12 year old kids that are playing the games today may at some point decide they want "the real thing" and here it is -- A fully professional, though somewhat limited, recording rig that hooks up easily to your computer, and costs less than most gaming consoles. Pretty Sweet!



OK, enough news and advertising links!

So, in the last few weeks I've been really stretching my brain and learning Cubase as well as digging back into Pro Tools, which I have managed to get "stable" in both Vista64 and Windows 7x64. The key to stability with Pro Tools is what RTAS instruments you use (RTAS stands for "Real Time Audio Suite" and it is Digidesign's proprietary instrument and effect plug-in architecture). RTAS for Pro Tools = VST for everybody else, well except for Apple Logic, they have their own format as well, something called "AU". Most of the Virtual Instruments I have purchased say they support RTAS, but many of them are not really "approved" by Digidesign, and those are the ones that make Pro Tools unstable!

So, I got to thinking I would try to do a track using ONLY the virtual instruments that come with Pro Tools 8 M-Powered, and this is what came out of that. They say that placing limits on the tool set you use, in any medium, will often foster creativity, and in this case it seemed to work for me. One thing is certain, I am "spoiled for choice" when it comes to software instruments!

The guitar parts were produced using the excellent Structure Free sample playback unit, which I also used for one of the string synth parts. The other string synth / pad part was done with Xpand2. I used two instances of Vacuum, a virtual analogue modeled synth, one for bass and the other for the lead synth sound. I used the Mini Grand piano plug-in as well. On many of these instruments I also used the out-of-the-box effects plug-ins for things like Chorus, Delay, Reverb, and Compression.

Lastly, I used the new Boom drum machine plug-in. This one is very cool and nostalgic for me. It's modeled very much after the Roland-type drum machines from the 80's, of which I once owned two, a TR-707 and a TR-626. Even before those "sample-based" units came along, Roland made units like the CR-78, TR-808 and TR-909 which had all analogue circuitry. These distinctive sounding units are still used today, especially in Hip Hop, Rap, Chill and D&B styles of music. The sound set I used in Boom sounds a bit like a TR-808 or a CR-78.



I learned to program drum beats in 1986 on the above unit, a TR-707. The interface was just amazingly "immediate" and became very popular and imitated by other manufacturers. So, when I saw the user interface for Boom I felt right at home!



I don't have much to say about this track, other than it's kind of a happy, trippy little bit that started as a "guitar idea", so I called it "Guitar Idea One" for lack of a more inventive title (and because this little ditty probably doesn't deserve a more inventive title). But the morning after I first mixed it, I was playing it in the car, as I often do to see how the mix sounds outside of Hybernation Studio, and my 6-year-old Jonathan said "Daddy, what's that song called". I told him I didn't really have a name and would he like to name it? So, he listened in complete silence for 4 minutes and then said "I like it, I want to call it 'One Lonely Desert'". Ok, Jonathan, "One Lonely Desert" sounds good to me!

The "genre" is a little hard to pin down...I guess you could call this "progressive acoustic ambient chill" music.

Enjoy!



here is a direct link to the mp3 for non-shockwave environments