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.
Describe:
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 www.pgmusic.com.
Version 11.0 (4)
Windows XP Media Center Edition
Gateway GX7022e
Pentium P820D
2Gb
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
quickly.
> 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
fills.
: 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
follow.
> 2:30 PM Drums done! About 4 hours work. Shorter next
time with lessons learned. Save as
C:\nobackup\will\songs\when_i_stand\
when_i_stand_drums_done.seq.
* 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
set.
- 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
lines).
> 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
mixer.
- 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
mixer.
> 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
through.
- 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 &
convoluted.
> 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
timing.
> 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
hole.
> 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
write.
- 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
response.
> 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
before).
: 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
WHEN_I_STAND_GEN_IDEAS.mp3
WHEN_I_STAND_NO_SOLO.mp3
> 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
C:\WINDOWS\system32\l3codecp.acm
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:
[HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\...
Windows NT\CurrentVersion\drivers.desc]
"l3codecp.acm"=...
"Fraunhofer IIS MPEG Layer-3 Codec"
[HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\...
Windows NT\CurrentVersion\Drivers32]
"msacm.l3acm"="l3codecp.acm"
"msacm.l3codec"="l3codecp.acm"
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
quotes).
: Add the 2nd key: double-click the key named
"msacm.l3acm" and set its name to
"C:\WINDOWS\system32\l3codecp.acm" (without
quotes).
: 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 www.pgmusic.com.
* 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.
http://www.m-audio.com/products/en_us/DX4-main.html
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
file.
> BTW, the format for adding a web image to the post is,
[image]http://.../dreaded_file_error.png[/image]
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
solo.
> 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,
when_i_stand_tc_4.mp3.
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
segment.
* Add a couple coordinated cymbal-bass shots at the end of the
solo.
* 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
vscdxi_60sorg2.tgs.
* 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
comparison.
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
> get...um...corny? 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
well.
> 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
mix.
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.
when_i_stand_mix_d_tracks_a.png
when_i_stand_mix_d_console_a.png
> 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).
when_i_stand_no_will_st.mp3
when_i_stand_no_will_mr.mp3
- For me to practice guitar with: mute the RG1570.
when_i_stand_no_rg_mr.mp3
when_i_stand_no_rg_st.mp3
- For Tim to perform: Mute lead vocal and 555.
when_i_stand_no_tim_st.mp3
when_i_stand_no_tim_mr.mp3
- For Tim and me to perform together: Mute the RG1570, 555,
lead vocal, and backing vocal.
when_i_stand_no_tim_or_will_mr.mp3
when_i_stand_no_tim_or_will_st.mp3
- Project folder is 1.13Gb.
Total Production Hours: 60.0