Saturday, November 18, 2006 (3:00PM) 
+   Prep for new version. 
    *   Remap to lengthen the bridge. Use copy-paste with "create gap"
        -   Big problems with rhythm guitar. Cannot recover right
            channel. Discard & use left only since it will be redone. 
        -   Now I am at the bridge asking, "what do I want to do?"
            I love that open A9 from the electric, and I want to drop
            the dynamic way down and build gradually. 
        -   Tried fiddling with the electric solo, but having a hard
            time grasping the context. 
            >   Enjoying bight-clean, hi-gain, comp, del, rev, neck. 
                Crisp attack & sustain & ring nice. 
                                    Sunday, November 19, 2006 (9:05AM)   
    *   I think I need to get the choir part going to set the context
        for the bridge before I can get an inspiration for the 
        guitar solo. 
        -   Try generating harmonies. Oops, another file problem. 
            select track 1, bars 82-86
            command "generate audio harmonies"
            >   stereo audio output on another track
            >   harmonize to chord symbols, type 'four above'
            >   click OK
            Error dialog says: 
                "Error or Cancelled out of routine, error code = 5
                Error initializing subcomponents."
            Submit support request at
                Version 11.0 (4)
                Windows XP Media Center Edition
                Gateway GX7022e
                Pentium P820D
                M-Audio Delta 1010LT
                Delta 1010LT MIDI
                Roland VSC
                Roland VSC, Microsoft MIDI Mapper, 
                    MS GS Wavetable Synth, Delta 1010LT MIDI
            >   I rebuilt the song by exporting each track to a .mid
                or .wav file and importing into a new song. Now I can
                access the harmony dialog. 
            >   Copy-paste the choir audio base to replicate through
                the expanded bridge. 
            >   I don't like the choir lines generated. Create a MIDI 
                track to guide the algorithm.
            >   Duplicate the base and MIDI tracks and offset by 2
                bars to create antiphonal parts. 
                                    Monday, November 20, 2006 (6:17PM)
            >   The MIDI parts have to be on separate tracks. Create
                melody, harmony, and melody 8va. 
            >   Generate harmonies. I don't like changing the gender.
                Use first vibrato. 
            >   Record Electric guitar scratch. Not bad. 

                                    Tuesday, November 21, 2006 (7:35PM)
    *   Edit the drum part for the bridge to guide the dynamics.
        Use grid editor and piano roll windows. Get notes from the 
        graphical drum set. 
                                Wednesday, November 22, 2006 (3:50PM)
        -   Problems using the drum view plug-in: If I use the MS GS
            Wavetable Synth, the volume of the notes is wildly random
            even though the velocities are the same. If I use the 
            VSC, the delay is unacceptable. 
                                Thursday, November 23, 2006 (10:55AM)
        -   OK, I think I know how I am going to do drum fills now:
            I used the label maker to make label stickers for the
            keys on the digital piano (see drum_keys.jpg). This allows
            me to use as much dynamic range (velocity) as I want and
            will be more "human" than the keyboard. Then edit in the
            piano roll window. Nice interface! drum_fill_interface.png.
            >   Tip: record bass-crash sequences in one pass, then
                come back and record tom & snare fills. 
            >   Tip: Since the main drums are on channel 10, use ch12
                for the fills. That way I can control the relative
                volume and hear what I am doing. But I have to reset the 
                VSC DXi part 12 to the STANDARD1 drum set each time I 
                start PowerTracks. Why doesn't it save the setting? 
            >   Occasionally I get a mysterious error with no 
                description other than "nil". Close PT and start again;
                don't risk corrupting the file. Rare enough. The 
                DXi setup is stored in drum_fill_dxi.tgs and loads up
            >   Tip: After playing a fill, quantize it so that it can
                be easily selected and copy-pasted using the roll
                window's popup-menu commands with snap mode on. 
            >   To blend the drums together on the same channel (so
                I don't have to keep loading the DXi setup):
                :   Get all relative velocities sounding good for the 
                :   Set faders equal for both drum parts.
                :   Use edit | change MIDI velocities to adjust the
                    fill track. 
                :   Switch the fills' MIDI channel to 10. 
                :   Now, I can adjust either fader, and the volume of
                    the DXi responds, so both drum parts are adjusted
                    together, even though the other fader does not
            >   2:30 PM Drums done! About 4 hours work. Shorter next
                time with lessons learned. Save as 

    *   Organ. Major ambience maker. 
        -   I noticed I can use the patch select dialog if I have the
            DXi window up. This makes it quick and easy to sample
            patches. Patch: 19.8 (Rock Organ->Rotary Org) in the GS
        -   PowerTracks corrupted the file on save. Never seen this 
            before. Good thing I save often (four running copies of the
            song). Not much lost. 
        -   6:38:38 PM This is becoming a serious rush! Organ done.
            Save as when_i_stand_organ_done.seq

                                    Friday, November 24, 2006 (6:15AM)
+   time for the 555. 
    *   Record using the approaches to Candace' Song and Fire Vamp as 
        I really like the way these came out:
        -   Notes from Candace' Song: "Through B-2, use a little 
            compression like a limiter at 4:1, except I opened the 
            attack time to 9:00 because I wanted the punch to come 
            through. unusual difficulty playing in time and not 
            drifting--especially for just a strumming part." 
        -   Notes from Fire Vamp: "recorded 555 through Behringer 
            B-2 Pro. Cardioid, position 15 inches in front of and above 
            12th fret. Treble +2db." 
        -   Compressor settings (dbx 266XL):
            >   calibrate with headphones--for better or worse.
            >   Expander = OFF. The song is never quiet enough to
                warrant it, and I have a quiet system (all balanced 
            >   threshold = -3db. This shows the 1-db attenuation
                light for very mild strumming. 
            >   overeasy = ON
            >   ratio = 4:1
            >   attack = 1:00, release = fast. This gets more transient
                through and allows more dynamic. 
            >   output =+10db. gain keeps level hot. recall I have 
                calibrated the A/D gain with the main output of the 
        -   How do I monitor while recording? 
            >   CAUTION: Turn speakers off. The following steps set
                up a feedback loop through the mic. 
            >   See asio_drivers_555.png. input port is the balanced
                line in 1/2. output is 3/4 which sends it to the
                mixer, channel 11/12. This is not sent to mains
                (else feedback) but listened to through the solo
                bus on headphones while recording. (However, it gets
                to the monitor speakers through the Delta's monitor
                mixer. This is where feedback can occur). 
            >   See asio_prefs_555.png. Note "Enable Input Monitoring"
                is on so I hear the 555 through the sound card directly
                (with effects if I want, but don't need here). Balance
                volumes either in Delta Control Panel or PowerTracks
            >   Wait. I hear a slight delay this way and don't like
                it. This is probably the 11-ms latency associated with
                a 512-sample DMA buffer (Delta Control Panel). Try 
                turning off "input monitoring" and mixing through the 
                subgroups. Assign mic to subs (to hear) and mains (to 
                record it). Assign the Delta output only to the subs. 
    *   Tuning: I used to tune to mission control, but I have
        noticed a discrepancy. Besides, I am not plugged in. 
        Use the tuner plug-in. The result agrees well enough with
        the MIDI piano.
    *   First pass through.
        -   feeling chills. It's awefully early in the morning for 
            that! The dynamic response of the mic and processor has an 
            invigorating effect on the way I strum, and that is, in my 
            mostly humble opinion, critical to the recording process. 
            And I have been too distant from this guitar for too long. 
        -   I need a metronome during the bridge. Drum grid->rim shots
            on quarters to sticks.dg->track 8 bars 78-116. 
        -   I am going through that bridge morph from Bm7-A into
            Gmaj7-A. I like the way it illustrates my finest experiences
            with open worship. 
        -   7:47 AM All is ready. File nails, stretch stiff neck. 
    *   Take One. 
        -   Tears. Can't think of any way to improve on it. 
            And I don't want to wear on the emotions that make it what 
            it is. If the sequenced drums and organ are a bit 
            artificial, this is where the humanity triumphantly shines 
        -   I panned the 555 middle, electric left and organ right.
            Might keep this approach. 
        -   Should I keep the rimshots in the bridge? Hmmm...
        -   No, the cute little lick just before verse one and two
            is not tight. I am inclined to leave it that way to let it
            be more "human", but what if I change my mind? 
        -   Tip: I saved the VCS DXi group to a file in its own default
            folder named when_i_stand.tgs. Simply load it when starting
            PowerTracks, and MIDI is ready.
    *   Take Two. 
        -   Hah! I screwed up the verse-two pickup on purpose!  Just to
            make it spontaneous...? 
        -   That's all my fingers can take--out of shape for the
            twelve-string. 8:56 AM
        -   Save as when_i_stand_555_done.seq.
        -   feed boys. 
    *   Bass? Solo with drums. This is one of my all-time best bass
        lines, and I am reluctant to touch it. A lot of innovation
        as the song progresses adding motion. But the bridge needs a
        little work.  Time for the audio-edit window! 
        -   Export to bass_long.wav in case I mess up. 
        -   Piece of cake. Copy-paste two sets of four bars into
            selected locations. Done. 

+   RG1570 Backing. 
    *   Input monitoring: This time I do want to monitor the input
        through the sound card so that I can record a dry signal but
        hear effects since they will influence my playing. 
        -   Turn on "Enable Input Monitoring" as above. 
        -   Open the DirectX/VST Window. Setup as shown 
            (see input_mon_1570.png). Notice that the "track" is set
            to ">> Input Monitor Insert <<"
    *   Now for the hard work: Mission Control. 
        -   Eliminate effects from patch 81 (When I Stand). Use tube 
            preamp for the clean sound and program SS overdrive for the 
            footswitch. Remain on the B+N pickup position. 
        -   Switching is not good enough--I want to morph between the
            two preamps--something I have never done. Consult the
            manual. Got 'er done. Sweeeeeet! 
    *   Three takes.
    *   Return to drum fills. Trim down first two verse-chorus sets;
        save the best for last! 
    *   Save Mission Control setup
        -   Increase Sysex buffer size to 1024k. This might fix any
            possible data corruption. 
        -   Bulk patch dump. 112624 bytes. This contains the patches.
        -   System dump. This contains patch names and utility settings.

+   RG1570 solo.
    *   Not written yet, but the stage is almost set. 
        -   First, strip some notes out of the organ--too thick &
            >   Save a copy of the organ line to organ.mid. 
        -   Record some mixer moves. Not very sure its correct.
        -   Render a mix, when_i_stand_1570_done.mp3, to practice with. 
            Listen to a lot to burn the ambience into my head. 
        -   Save as when_i_stand_1570_done.seq
                                Saturday, November 25, 2006 (9:30AM)
        -   I don't need food when I'm making music. I suppose my
            therapist will set me straight...but not today!
        -   I want to use feedback. But I have never been able to get
            it out of the Crate with its 15" speaker. Thinking it is
            the distance to the magnetic coil, try using the kenwoods
            with their tiny woofers. No luck. Tried side-by-side, 
            stacking horizontally, vertically. I can get a smidgeon
            but not enough to solo with. Only one way: bring in the
            E-bow! Now where did I put that thing? 
            >   Nice. With the fully distorted sound I don't have to
                worry about turning down the volume--just bring in the
                e-bow and let it ring. BTW, I am using the same patch
                as for the rest of the song, full on SS distortion,
                bridge pickup (I love the way it screams and howls). 
        -   Make a few feeble attempts, and save them to solo1.wav, 
            solo2.wav, etc... These begin at bar 78 if I want to 
            import one. Right now, generate concepts. 
            >   12:17 PM I have 5 solos now, and I am hearing ideas
                faster than I can get them to my fingers. Someone
                might complain that it is too eerie, but I consider
                it pensive, deep, and worshipful. And I want a 
                substantial departure from the rest of the song.
            >   solo6: gets through the E-bar sequence with good
            >   I think a sketch is taking shape: 
                :   bar 86-94: eerie slow bending sequence ending on
                    E (4th str, 2nd fret) a measure early where I
                    pick up the E-bow and resonate the note as the
                    rest of the arrangement morphs the feel.
                :   bar 94-102: E-bow sequence on the 4th string ending
                    on C# (11th fret).
                :   bar 102-110: Lively pick sequence in 1st position
                    decending to the open low E where I dive the 
                    tremolo a 5th to low A.
                :   bar 110-116: Super-shredder run up the neck to 
                    fast bending sequencing peaking at high B (1st
                    string, 17th fret). Not sure how to get out of
                    it gracefully yet. 
            >   solo9.wav does great on everything up to bar 102 where
                I am currently stuck. Generate ideas on fading it out
                at 102-103 to force my head to deal with the gaping
            >   solo11.wav: getting closer. Decent throuth bar 106.
                Aim E-bow light at 22nd fret. 6:23 PM Fingers hurt. Good 
                thing Timmy C made me get in shape on the RG1570! 
                                    Sunday, November 26, 2006 (5:15AM)
                                    My heart is steadfast, O God, 
                                           my heart is steadfast; 
                                           I will sing and make music. 
                                     Awake, my soul! 
                                           Awake, harp and lyre! 
                                           I will awaken the dawn. 
                                                        Ps 57:7-8
                                    (read the whole chapter & tremble)
                :   While waiting for fingers to recover, tune the
                    mix a bit.
                    #   The organ line copied to the tag did not 
                        copy the sustain pedal data. Clean note 
                        durations and volumes up. Graphical 
                        event pane in roll window is great for
                        the latter. 
                    #   Add fader moves to backup electric and 555.
                    #   EQ 555. The extra 2db high freq was not needed.
                    #   Change ride in chorus from ride 2 to ride bell.
                    #   Challenge: I think the 1570 is too low and 
                        the organ too high. But to balance them, I
                        have to edit ALL the recorded fader moves.
                        Not the way to go--at least not until the
                        very end. Use Edit | Replace to change the
                        organ faders to expression control 
                        (CC#7 -> CC#11). 
                    #   Add EQ to 1570 to bring it out during the
                        chorus. Add PeakLimit to bring constant
                        gain up so that I can leave the fader 
                        programming alone. 
            >   solo12.wav. A little cleaner, and a few more notes
                defined through bar 106. Plus a harmonizing sequence
                at the end. Need to hit the low A at 109:1. 
                :   12:07 PM. solo12b. Got it for the last four 
                    bars--chills. The harmony to the electric and
                    bass is based on an index-finger bar across strings 
                    2-5 at the 7th fret. Slide down from St5, Fr12.
                :   1:24 PM. Bars 112-113 are worked out. 2 left to
        -   solo13.wav. All notes defined. 2:11 PM. 
            >   Ken Broy had some suggestions for the drum fills
                during the bridge. But during the editing, PT
                crashed. So I caught the screen: kens_beat.png.
                            Wednesday, November 29, 2006 (6:20PM)
            >   I had some trouble with the E-bow: It would often
                fail to resonate. But if I bend the string, as with
                vibrato, the resonance sets up right 
                away--something about changing the phase 
                relationship between E-bos's excitation and string
            >   solo14.wav. This is as accurately as I can now
                play it. Now just a matter of practice until I am 
                comfortable enough with the notes to add expression 
                to it.
        -   Coordinate drum fills with solo. Some are already there;
            I must have sensed them when writing the solo. But a few
            others need to be changed. 
            >   Sick of having to turn organ notes off when I stop
                play back. Convert to audio (right-click in data
                area of tracks window). 
            >   Incorporate Ken's suggestions. 
            >   Incorporate Rob's suggestion: add variety to the cymbals
                by setting some of them to different MIDI channels and
                using a different drum kit. 
                :   The track MIDI channel must be set to zero.
                :   Select the whole track and rechannel to 12 (as
                :   Now select certain cymbal shots and rechannel.
                    Can't use piano roll window--use notation.
                :   I cannot hear a difference--unless I select a set
                    that does not use a cymbal for that note! Change
                    back to ch12. 
        -   Other miscellaneous mixing items.
            >   Change ride bell to ride 1 in chorus one & two.
            >   Are the main drums loud enough? Slight increase.
            >   Remove first high notes from organ at tag. 
            >   Too much clip protection on output FX. Reduce
                pregain 1db. 
            >   Render to files
            >   Back up to USB drive.
                                Thursday, November 30, 2006 (7:29AM)
                                Winter storm!
            >   When I render an MP3, the list of resolutions
                only goes up to 22kHz, but I want to listen to
                the full 44.1k. Post question on user forum.
                :   Several options suggested (in one day!).
                :   I noticed I already have the file
                    Thus, the registry-entry method looks best
                    since I do not have to find and download
                    software I don't want. 
                :   The explanation says to set the following 
                    three registry keys:
                        Windows NT\CurrentVersion\drivers.desc] 
                        "Fraunhofer IIS MPEG Layer-3 Codec" 
                        Windows NT\CurrentVersion\Drivers32] 
                    The '...' indicates a line return that should
                    not occur in the actual text. 
                :   run regedit. I notice that the second key
                    resets msacm.l3acm which currently exists and
                    is set to "C:\WINDOWS\system32\l3codeca.acm"
                    (without quotes). l3codeca is mentioned in the
                    forum as being the more limited version. 
                :   Backup registry to file registry_backup.reg.
                :   Add the 1st key: pop up in the area, select
                    "New String Value". Name the key "l3codecp.acm",
                    (without quotes) and set the value to 
                    "Fraunhofer IIS MPEG Layer-3 Codec" (without 
                :   Add the 2nd key: double-click the key named
                    "msacm.l3acm" and set its name to
                    "C:\WINDOWS\system32\l3codecp.acm" (without 
                :   Add the 3rd key: pop up in the area, select
                    "New String Value". Name the key 
                    "msacm.l3codec", (without quotes) and set the 
                    value to "C:\WINDOWS\system32\l3codecp.acm" 
                    (without quotes).
                :   Exit the registry. I assume it saves itself.
                    Reboot. WMP works. 
                :   Render. I can now write 44.1kHz with a bitrate
                    up to 320kbps. This produces a 12Mb file. 
                    Sounds very nice, but I am aiming for 6Mb. Try 
                    160kbps--6.3Mb. Compare with 56kbps at 22kHz.
                    The final octave makes a HUGE difference in the 
                    headphones (Fostex T40) and a substantial 
                    difference in the Altec Lansing PC speakers. 
                :   Big thanks again to the PowerTracks user forum!
            >   A couple speakers are telling me there is not
                enough low end in the mix. The Altec Lansings can
                be a bit deceiving. 

    *   11:00 AM Record the solo.
        -   Here is a trick: I want to record dry and hear the delay, 
            but I want the dry sound direct from the mixer. Set effect 
            level to full wet. Too loud. Add PeakLimit, and set post 
            gain to -6. Perfect. 
        -   Tip: back-pick the first three notes to deaden the previous
            string with perfect-zero overlap.
        -   first attempt stunk.
        -   take 1: intro stunk. nice E-bow. missed dive. lack 
            precision at end. 
        -   take 2: I think I like everything except the high-B bend
            at the end where I fail to mute another string. 
            >   Capture the dreaded_nil_error.png. 
        -   take 3: lots of punch-ins. Still having trouble with that
            last lick and precision. Fingers getting tired. Perhaps
            I just wasn't ready to go for it. 
            >   Practice the lick slow. Build speed. Rest a few seconds.
                NAILED IT! 
        -   Integrate the takes:
                       phrase            range              best
                          A     85:1:000   -  90:1:094     take 3
                          B     90:1:095   - 101:1:102     take 1
                          C    101:1:103   - 106:3:108     take 2
                          D    106:3:109   - 110:2:059     take 2
                          E    110:2:060   - 118:1:000     take 3
            >   I wish I could click-drag_&-drop, but I cannot control
                the time axis accurately enough. Request feature to 
                shift-drag at

    *   Mix it in. 
        -   Put the delay in aux 2 and add fader moves so that I get 
            more delay in phase 1, 2, and the high bends in 3.

                                    Sunday, December 3, 2006 (8:19AM)
+   Upgrade WillSongs Studio
    *   New monitors: M-Audio Studiophile DX4. 
        Great reviews. Designed for desktop music.
        Since I have upgraded the input transducers (microphones, mixer, 
        sound card), I have still been mixing to low-end PC speakers. 
        John at Guitar Center gave me a great deal at $125.
        -   Normally they sit in the cabinet next to the screen, but
            this interacts acoustically with the cabinet distorting
            low frequencies. During mixing, lift out and place about
            3 feet apart making the isosoles triangle recommended in
            the manual. 
    *   Add a pair of high-end headphones: Sennheiser HD280. Again,
        a lot of great reviews. Closed-foam. Tim will use these to
        monitor himself as he sings and I monitor through the T40's.
    *   Add a few mixing touches.
        -   Oops, no EQ on my vocal. 
        -   Edward, the living room, and now the DX4's say the bass 
            is too high.
        -   bring electric up 1db.
        -   drop more highs from 555--let the cymbals carry the final
            octave. boost level for more harmonic presence. 
        -   raise left choir 2db to match right. raise both 3db to
            bring both up in mix (faders maxed). Reduce pan to +/-20.
        -   Reverb is not smart: it is routed to group 4 for the choir,
            but it I change the choir, I change all reverb! separate.
        -   I just got the perfect mix, and PT crashed when I hit
            'save' (see dreaded_file_error.png). Can't save as another
            file. Can I load when_i_stand.tmp? Yes. Save as
            when_i_stand_crash.seq. Close PT, rename when_i_stand.tmp
            to when_i_stand.seq. Open, and continue. Has all my recent
            edits, and plays fine. Thanks PT for saving the tmp file!
            Post question on forum as to whether I should trust the 
            >   BTW, the format for adding a web image to the post is,
                                    Monday, December 4, 2006 (7:21PM)
        -   Rob suggested the solo is too low. He is right. Gain 
            change +6db. Reduce fader from 100 to 85.
            >   Time I got a feel for the relationship between fader 
                value and db: Use a sine-wave synth part, convert to
                audio, gain-change, then record meter readings at
                fader values:
                                fader    db
                                 48,     -21
                                 51,     -20
                                 56,     -18
                                 67,     -15
                                 79,     -12
                                 94,     - 9
                                113,     - 6
                                127,     - 4
                To an approximation, 5 ticks equals 1 db towards the
                top, but greater sensitivity toward the bottom where
                1-2 ticks equals 1 db. Great! Nonlinear faders! 
                This implies that I added +6 - 15/5 = +3db to the
            >   I think I got it too loud at 85. Drop back to 79.
                I am going to end up doing some local editing later.
                The important thing is that the mix is inspirational
                for Tim when he sings it. 

                                    Tuesday, December 5, 2006 (5:39PM)
+   Record Tim Churchill, lead vocal.
    *   backup when_i_stand_b4_tim.seq
    *   Setup. 
        -   Behringer B2 Pro (1" dual-diaphragm condenser).
        -   Audio output to 3/4 to send to mixer. 
        -   flat EQ, 
        -   dbx266xl: 
            >   Expander = -40db, 2:1. 
            >   threshold = -10db, overeasy=ON, 4:1 ratio, 
                attack & release at 12:00, auto=ON, gain = +10.
    *   8:45 PM Done. Four takes. Mix a rough cut, 
                                    Wednesday, December 6, 2006 (8:40AM)
    *   Render three mixes with takes 2, 3, and 4 to listen while on
        the go. Take one has a low volume as Tim sang a distance from
        the mic. The other takes have a lot more bass from the proximity
        effect, so take one is saved outside as timmy_c_take_one.wav.
        Swap tracks to get them together on tracks 20-22. 
        -   take two has excessive bass and lacks the vocal nuances
            I asked for later in the session. I recall having him
            back a couple inches from the mic at this point. Thus, I
            think only takes 3 and 4 have usable material. Save
            take two out as timmy_c_take_two.wav, and erase data from
            the track. 
    *   Actually, the house is empty--great time to work. Let's go for
        it! Integrate takes 3 and 4.
        -   Something weird with the 555 at 1:40...the pan-volume 
            changes.Somehow I lacked volume and pan commands at the 
            beginning for the 555. Add them. 
        -   The first "in your light" is weak. gain change +2db.
        -   TIP: When selecting a region to copy, press Alt-F7 to
            set the now point to the from point so that the paste is
            automatically time-aligned.
        -   2nd syllable of "above" low. +3db.
        -   11:00 AM. Done. render WHEN_I_STAND_TC_M.mp3. Go cry 
            some more.

                                    Saturday, December 9, 2006 (7:34PM)
+   Add some fine touches to mix.
    *   solo faders. Add a slow 6-pt (1db) ramp just before the E-bow 
    *   Add a couple coordinated cymbal-bass shots at the end of the 
    *   tighten up low end
        -   Thinking about switching to the Hammond->60's organ 2
            for the more prominent high end which may fit better with
            the guitars. Yes, I like it. Save DXi setup as
    *   render when_i_stand_mix_a.mp3 and compare. Slam it out on the
        web for comments. Wrote:
            I am now honing in on the mix focusing on "placement."  I am 
            striving for a cleaner mix where each source is discernible 
            with its own "place."  Other subtleties have been added, but 
            I will see if anyone objects before I disclose them. I will 
            now start to name each iteration uniquely for A-B 

                                    Monday, December 18, 2006 (6:34PM)
+   Record backup vocal. 
    *   Same mic and setup as for Tim.
    *   Audio begins at 42:1:0
    *   2.5 takes. take one is 2nd verse chorusonly. 
        Integrate takes two and three. I like take three better, and
        I can't hear any reason to integrate. Erase take two track.
    *   Implement Mike's suggestion: "You're greater than I've ever
        known" has no harmony. Actually, I feel the need to add the
        harmony on the third event, but two out of three ain't bad.
    *   render WHEN_I_STAND_MIX_B.mp3
                                Wednesday, December 20, 2006 (9:23AM)
    *   I got some feedback from Rob and replied and got re-replied:
           > > I like the harmonies – they are what I hear in my head. 
           > > That being said, there’s something about the way they 
           > > blend, or don’t blend, with the lead vocals. Not a 
           > > polished sound, but not sure how to describe it or what 
           > > it would take to fix it.
           > I placed myself way back stage (next to the cowbell ;) 
           > by dropping lows and highs drastically and boosting 
           > reverb. I wanted to let Timmy C carry the timbre and 
           > enunciation (after all, if I could sound remotely like 
           > him, I would have sung it myself), but I am thinking it 
           > was too severe--I can't hear any of my own inflections, 
           > and that was partly my reason for doing a backup. I am 
           > thinking about boosting myself near 4 kHz. Does this 
           > make sense?

           I couldn’t tell you about specific frequency ranges, but 
           bringing it a little forward would probably be a good thing. 
           Shoot for an eq similar to Tim’s, I think, for blending. As I 
           listen again, I think part of it is that you are singing with 
           more intensity than Tim. Is he up for another session? It 
           also sounds like you’re reaching for some of the harmonies – 
           another few takes with a fresh voice might not hurt...

           > > The balance of the solo is spot on. I also like the way 
           > > the instruments build throughout the song, esp. the 
           > > organ.
           > Thank you. Do you like the new organ patch, or did it 
           > I like the way it cuts through 
           > without stomping on the other instruments, but 
           > sometimes it sounds too much like a 60's song by The 
           > Animals, or something. I am thinking of reverting to 
           > the old patch and EQ'ing out the lows to get rid of the 
           > muddiness. 
           I like the new organ – although I have to admit that until 
           you mentioned the patch change, I hadn’t noticed. There’s 
           nothing wrong with being slightly derivative of Classic Rock 
           – there’s a reason it’s referred to as “Classic.” I think it 
           goes along well with the choir on the bridge, which makes me 
           think of 60’s British rock.

           > > The whole song sounds a little busy, especially when I 
           > > A/B against the original. The new version is definitely 
           > > more satisfyingly full, but almost overwhelmingly busy. 
           > > Again not sure the best way to fix it. As I listen 
           > > again, I think it’s the juxtaposition of the strumming, 
           > > picking and prominent bass line all at the same time. 
           > > See if you can find any information on Phil Specter’s 
           > > (sp?) "Wall of Sound". He was the king of busy 
           > > arrangements that didn’t sound busy back in the day 
           > > (60s-70s)
           > Do you find the bass line prominent? I was starting to 
           > think it had gotten lost in the mix. Have you listened 
           > on more than one speaker set?
           I have only listened so far on my computer at work (which has 
           no woofer) and yes, I do find the bass line quite prominent. 
           I’ll burn a CD and try it out in my van and living room, as 

           > Part of the busyness may come from my refusing to 
           > relegate the 12-string to the spectral range of a 
           > shaker (i.e., 10-20 kHz). My sentimentality may 
           > prevail over convention here. Not sure.
           > > One other thing – the arrangement gets too thin (but 
           > > still busy – go figure) right after the solo. Might 
           > > think about continuing some sort of e.guitar fills 
           > > through that verse.
           > I am thinking of restoring the organ to its previous 
           > level which gets dropped at that point. Do you think 
           > this would address it?

           That would probably go a long way towards it. I just listened 
           again and think that might do the trick – bring up the mix 
           without overpowering the verse.

                                Thursday, December 21, 2006 (10:50AM)
+   Implement Rob's ideas.
    *   My vocal. Restore the 4k band in the EQ to 0 from -3db. 
        I don't want to EQ similar, because I still want Tim to 
        control the timbre and enunciation.
    *   Organ. Extend the last note in the bridge to the end.
        Delete the drop-volume command (was 105 to 95).
        -   After a couple listens on PC speakers, I don't think it 
            is enough since the organ drops to one note. Try next level, 
            110, which gets commanded at bar 140.
    *   Render when_i_stand_mix_c.mp3.

Total Production Hours: 50.0

                                    Saturday, January 6, 2007 (2:09PM)
+   Render when_i_stand_no_elec.mp3 to practice electric.

                                    Sunday, April 22, 2007 (10:02AM)
+   All of a sudden I cannot play the file! PT11 hangs. 
    *   All other songs are fine.
    *   The original, original_when_i_stand.seq, plays, but the very
        next file (rebuild.seq, 29-nov-2006) does not. 
    *   Try resampling to 48k. No luck. Stumped. 
    *   Extract all tracks to wav files, just in case. tempo=118.
    *   Actually, it doesn't completely hang. It begins playing
        after about 40 sec. 
    *   Post the problem to the forum. 

                                                Monday, July 12, 2010 (06:22 PM)
+   After two and a half years of no activity, I found I can restore the
    project in Sonar 8.5. See wis_sonar_a.png.
    *   I need a backing track with no vocal. Hence the need.
    *   I imported all the raw WAV files into Sonar and used old screen shots
        to line them up and set the tempo.
    *   The drums could definitely use improvement, but I did not have all
        the MIDI data. 
        -   I installed PowerTracks 12 on the spicher_main PC with no audio
            drivers, and the project opened.
        -   The MIDI data appears to line up with the Battery 3 pop kit. 
            Not sure if the ride bell is hitting the right note, but no other 
            mistakes noticed. 
        -   To edit drums I desperately need a drum map. But it has disappeared
            from the Sonar drum map manager. I found maps are located in
            C:\Users\Will\AppData\Roaming\Cakewalk\SONAR 8.5 Producer\Drum Maps
            I found them on spicher_main and copied them.
    *   I think all other instruments are fine. Now I just need to edit drums
        and mix!
                                            Thursday, July 15, 2010 (04:06 PM)
        -   In the thick of drum editing. I thought about remapping notes,
            but I think that creates more confusion than it eliminates.
            Just click and drag. Toms need to be lifted higher, and
            ride bell landed on a tom. 
        -   Add variation to high-hat and snare sounds now that the potential
            is there.
                                            Saturday, July 24, 2010 (10:47 AM)
    *   Spent a little time on Tim's vocal processing.
        -   Use the vintage channel to fatten it up with subtle compression.
        -   Use the vocal strip to add doubling during choruses 
            (automate later).
        -   Use the multiband compressor to limit the shrill 2.5 kHz that kicks
            in now and then.
        -   See timmy_c_vocal_processing_a

                                            Saturday, August 7, 2010 (02:48 PM)
    *   Back to drums. 
        -   I spent a couple  at this on July 25, and I remember typing
            notes, but they are lost. Anyway, they included the to-do list,
            which would have included: 
            >   Add a cymbal swell at the bridge.
            >   Still need to edit the bridge line and the tag.
        -   The cymbal swell needs to be played manually, real-time.
            A couple warm-ups, and done. Very nice.
            See cymbal_swell_a.png.
        -   The Battery pop kit is extremely flexible. A slight adjustment
            to velocity triggers a different sample and can make a huge
            difference--especially with the snare rim shots. I can always get 
            the sound and expression I am after with some diligence. 
        -   Man, I like that guitar solo. The RG1570 has something special
            about it. Better not sell it!
                                            Thursday, August 12, 2010 (05:49 PM)
    *   Mix.
        -   Handful of volume envelopes.
                                                      August 13, 2010
        -   Timmy C was here and listened to the mix. He recommended I raise 
            my backing vocal a little, but, other than that, he liked the
            rendered when_i_stand_scratch_a.mp3
            (correct, there are no other scratch tracks in the folder).
                                            Saturday, August 21, 2010 (01:15 PM)
        -   I raised the bass a db. Time to create Mix D.
            >   Freeze the drums.
            >   Copy project file to when_i_stand_mix_d.cwp
            >   Render output-Master.wav. Import to Audacity, trim ends, and
                export to:
                    when_i_stand_mix_d.wav          ( 16-bit )
                    when_i_stand_mix_d.mp3          (192 kbps)
                    when_i_stand_mix_d_128kbps.mp3  (128 kbps)

    *   Backing tracks. 
        -   Formatting:
            >   Use the scratch_mp3 preset (160kbps) for these.
            >   Produce two formats: full stereo and mono panned hard-right
                (set master to mono, pan hard right, drop fader -3db).
        -   For me to perform by myself: mute the RG1570 and lead vocal
            (and hope I can sing it).
        -   For me to practice guitar with: mute the RG1570.
        -   For Tim to perform: Mute lead vocal and 555.
        -   For Tim and me to perform together: Mute the RG1570, 555,
            lead vocal, and backing vocal.
        -   Project folder is 1.13Gb.

Total Production Hours: 60.0