Here to Make Friends

I'll never read all these books.Well, I have listened to the five songs for the first record on the office stereo, the kitchen CD player, the fancy Tivoli in the living room, the iPod, and in the car.  I’ve tweaked the mix and applied compression sparingly and judiciously.  For comparison, I listened to my last CD, and in some ways, i think this one sounds better.  By “some ways,” I guess I mean vocally.  I’ve gone all-in with the doubling of vocals — four out of five songs have it.  It thickens what I sometimes think of as a thin voice.

What’s more, I really think this collection of songs is solid.  I’m especially excited about the side two opener, “Get On With It.”  It’s an extremely simple song (even for me), but the way the bass drum came out was a surprise, very surging and deep.  I am also very thankful that I got that tambourine last weekend; since then, it’s sounded better with each listen.  Lastly, one of the songs has a sample in it.  It’s kinda silly.  For the sake of variety-in-updates, I’ll share the video I used; maybe you’ve seen it?

Oh, and I’ve pretty much locked down the cover, and I’ve included it in here somewhere…

Next, I have to do my research on RPM, and what exactly the pressing place needs from me.  You see, the two sides of the record are about 4:10 and 4:48 in length, respectively.  That’s just about the upper limit of what they recommend for a 45 RPM seven-inch.  Anything past that, and the quality of audio starts to suffer.  I could go to a 33-1/3 seven-inch record, but I’m kind of assuming that is, in and of itself, a notch down in audio quality.  I have to confirm whether or not this is the case, and place the order accordingly.  So yeah, it’s probably going to be 45, and I’d like to make that a constant across the records.  But I make no promises…

Record Club Update #3: Workingman’s Holiday

Let's Do This.

I’d initially taken the penultimate week of the year off in order to put up molding and paint in the living room.  But then Amy reminded me that we’d have a tree and decorations up, and would I really want to do that?  She had a point.  Besides, I have plenty of Record Club work to do now.

The other night, I mapped out possible records using the songs I’ve already finished.  I technically have enough songs to put together all four records right now, but I want to place as much of the “good stuff” (according to me, I guess) into the first two 7″s (February and May), leaving the second two (August, November) more open for future recordings.  Knowing me, I will probably come up with plenty of stuff between now and summertime; songs are bound to show up which I’ll be anxious to share.

I gotta say, that’s one of the coolest things about this project.  All you backers aren’t just paying for a record; it’s more like you’re funding a one-man record LABEL, letting me plan out a full-on RELEASE SCHEDULE.  It’s a dream come true, and a lot of fun.  But also, when I picture all these packages going out into the mail next year — once or twice, or four or six times, depending on your format — the responsibility of it truly dawns on me.  At the risk of sounding like some sweaty, over-eager dude at a job interview, this opportunity is a huge vote of confidence on your part, and I want to honor it with the best music I can make.  F’reals.

So, once I solidify the first record (and maybe the second, I’m not sure), over the next few days I plan to sit down and properly mix whichever songs I’ve picked.  I won’t be doing any mastering for this project, and that does make me a tad nervous.  But I found that on my last CD (Heads Together), if I just took extra time mixing (listening in the car and in the kitchen and on the cruddy computer speakers hooked up in the basement), I can keep the (unintentionally) unruly elements well under control.

Aside from thoroughness, the other trick to mixing this time is the fact that these songs are going to be on vinyl, something I’ve never had to mix for.  I’ll listen closely to the CD and vinyl versions of some of the albums in my collection, to get a sense of whether either format is biased towards certain frequencies.  I’ll scribble down what I’ve learned and dive into the process as ready as I’ll ever be.

On the less-daunting side, with these solo-type recordings, having just a few elements per-song is its own advantage.  It’s easier to “place” each instrument in a mix with just a few tracks, to get them to stand out from each other.  Man, I can’t wait to get my hands (and ears) on ‘em…

My next update should include a sneak preview of the cover image for the first record, so stay tuned!  And thanks.