Main

October 07, 2007

exquisite corpse

one of the things i'd like to do with the studio when it gets a little closer to completion is to use it not just as a place to record projects, but also as a place to do other music-related things. here's an idea i emailed to a bunch of folks. if this is something you'd be interested in, shoot me an email.

in all the music-related projects i've been involved with the past few years, i've noticed a recurring set of complaints across a bunch of musicians who write/want to write music (myself included):

-"i should write more music, but {i just can't seem to get motivated,i don't think i'm good enough, i never finish what i start, ....}"

-"i'm stuck in a rut. all my music sounds the same."

-"i think i've hit some sort of plateau. i feel like i should be getting better but i'm not."

-"i wish i could bounce my ideas of off people and get help with ideas and suggestions"

this has been on my mind a lot lately and i've been reading a lot of books on this topic. one thing i'm seeing mentioned again and again is this idea of music lodges, which appear to be pretty popular out on the west coast. they're basically just a regular gathering of musicians who are looking to find ways to think outside the box and expand their songwriting chops. it's also a good way for the group to give itself projects to work on as homework and the regular meeting structure provides deadlines to motivate those of us who can never quite seem to start/finish writing a song.

i'm pondering doing a monthly (for starters) music lodge project and helping facilitate whatever might need to be facilitated logistics-wise. this email is a feeler to gauge the level of interest in this sort of thing. here are some ideas for music-immersion projects (i can't take credit for any of these):

-the hat. everyone puts an idea for a song on a piece of paper and sticks it in a hat. we pass the hat around and everyone picks an idea out of the hat. write this song and present it at the next get-together.

-20 songs. this is a weekend-long competition which begins on saturday morning. the purpose of the competition is to see who can write the most songs in 24 hours. finish up sunday morning, catch up on sleep sunday afternoon, and we get together sunday evening and play what everyone came up with and find out who the winner is.

-worst song contest. write the worst song you possibly can. we'll take a vote to see who wins the coveted "worst song" award.

-jam sessions with ideas borrowed from improv comedy. for instance, 2 or 3 members jam for the rest of the group. the non-playing folks will periodically shout out instructions which the improvers must follow. or an adaptation of the standard setting/relationship/task improv games for songwriting (e.g. subject/instrument(s)/genre).

-lyric-writing exercises. automatic writing, freewriting, etc. maybe a series of timed exercises followed by going around the room and sharing our results with the group.


those are just some possible ideas--there are tons of others out there. the main goal is to come up with fun and challenging exercises that would be beneficial to all musicians, regardless of their music style(s) or level of talent. it's also a great opportunity for folks to interact with other musicians and exchange ideas.

let me know if you're interested. if you know of anyone else who might be interested, feel free to pass this along to them. if i hear back from enough peeps, i'll see about getting something started in a month or so.

July 15, 2007

forbidden phrases

god, i've been horrible about keeping this thing updated. sorry about that--work's been kicking my ass and i've been knee-deep in 2 production projects for several weeks.

nothing new to report on the construction front...everything's still in a holding pattern there until i finish these current projects. i have made a few gear purchases the past few weeks. for mics i got a sennheiser 421 (great on snare) and a shure sm7 (haven't tried it yet, but lots of people say it's great for singers with harsh high-ends and/or crazy dynamics). yesterday i picked up a sansamp bass driver. i'm still by and large unhappy with the bass sounds i get when it comes to recording, so i'm hoping the sansamp will at the very least give me a few more options.

i've been talking with a lot of different people about a lot of different facets of music lately, which has me revisiting the idea of creating a "forbidden phrases" list, similar to the "no stairway to heaven" sign in wayne's world. i've been wanting to do this for a long time now. current candidates for the list:

  • but it's my style
  • indie rock
  • but rush did it
  • i want that john bonham drum sound

but it's my style. this is the musician equivalent of parents saying "because i said so." i tell people time and time again to think of their songs as their children. sure, you provide the seed for a song and have an idea of where you want to take it, but as the song begins to take shape it takes on a life of its own and it may decide it wants or needs to do certain things which are at odds with what you wanted it to do. people who defend their musical stylings too ridigly and emotionally by and large do so as a crutch to avoid actually listening to what the song is saying. it's very easy to become too attached to the words you write and the notes you play, which can lead to not seeing the forest for the trees. words, phrasings, notes, tempos, song structures, orchestration...none of that is sacred. let the song dictate those things, not the other way around.

indie rock. i'm so sick of this phrase. it has lost all meaning, and as a result everyone throws it around with their own weirdly-self-serving interpretation. indie does not mean "i don't have to practice." indie does not mean "i don't have to write good songs." indie does not mean "i don't have to make my voice/gear sound good." indie does not mean "all i have to do is say 'indie' in my description and each and every member of the indie community will become a fan of my music." indie does not mean "any suggestions for improving my music are part of the corporate music world trying to make me sterile." there's "i don't want to be like those fake, plastic supermodels, so i'm not going to buy into superficial notions of beauty," and then there's "i don't want to be like those supermodels, so i'm not going to bathe anymore."

but rush did it. you are not rush. you will (hopefully) never be rush. as soon as you start to come even close, rush fans will pee on you for daring to plagiarize their gods. most people listening to your music these days weren't even around yet when rush was making good music. putting a rush riff, fill, lick, or any other reference/homage to them into your songs will not increase your chances of getting laid. unless you like sleeping with chicks named juno. until you decide to write an album entitled "music for LARPing," chances are high that rush-isms have very little place in your music.

i want that john bonham drum sound. if i had a dollar for every time someone said this to me, i'd have enough money to reanimate bonham's corpse and hire him to play on each project which requests his sound. which, incidentally, is the only real way to get that sound. john was a big man with big arms who hit big drums with big sticks and made big sounds. not only that, he had an incredible sense of dynamics, meticulously tuned his drums, and knew his drums and his playing intimately enough so that he could adjust his playing to the recording environment rather than the other way around. no engineering technique can take the place of these things.

i don't know why so many drummers speak as if bonham was the only drummer who ever existed. yes, he was a great drummer and had a great sound, but there are other great drummers and other great sounds out there. not to mention other genres. unless you're a zeppelin tribute band or write music very much in that style, spend some time finding drummers and drum sounds you like in genres close to your own.

August 01, 2006

recording FAQ

in other news, i've been spending 10 minutes here and there working on a FAQ for people who are planning to enter a recording studio--mainly tips to help get the best sound, the best performance, etc.

once i get it a bit more fleshed out i'll post a draft here for everyone to read. but for the time being, if any of you have any questions about recording/studio stuff/whatever, or if there are things that you think everyone should know before they enter a studio, send them my way and i'll try and incorporate them into the FAQ.

May 31, 2006

more learning materials

ordered a couple more books today to try and absorb more information before i begin construction:

home recording studio: build it like the pros by rod gervais

building a recording studio by jeff cooper

rod is a regular on the forum and always has really good advice on stuff. i've heard many positive things about the cooper book as well.

April 19, 2006

learning annex

disqo (sorry, couldn't resist) asked me about the possibility of providing links to resources and stuff which help inform some of the decisions i'm making with regards to the construction process, so i formed a new category.

here's some stuff to get started. if you're even thinking about doing any studio construction, the place to begin your journey is john sayers' site. a good chunk of the information you need is there, but studio construction has so many variables, so be prepared to spend a lot of time reading the forum with the understanding that every situation is different. john and a bunch of other guys who have been doing this kind of work forever are really generous with their time and advice.

if some of the stuff there throws you for a loop, you may want to check out the sae materials.

you can sometimes find snippets of wisdom at various sites which are dedicated to recording but not necessarily studio construction:

gearslutz.com
homerecording.com
studiotips.com