Here. Have a silly animated version, too.
It’s hard to look like an angry drummer while wearing an argyle sweater and a warm scarf.
EDIT: …and slippers.
6 September 2012. Stampede Origin. Culver, California.
Photographer Kenneth Pattengale
I’ll take one of each, please… but, as that’s not likely to happen, instead I’ll happily take the new album from The Milk Carton Kids that’s being recorded with one of each.
In a good way
- Late Saturday night I recorded a demo for one of my songs and I’m really happy with the direction it’s taking.
- That makes three songs which are now pretty much complete with lyrics, music, and structure.
- One more song has chords and structure that I’ve carried for over a decade, but I’m still searching for a melody and an idea of what I want to say with it.
- The fifth song still eludes me.
- It’s interesting how inspiration comes in waves. Ebbs and flows.
It’s hard to believe that nearly one year has passed since I undertook my 40 in 40 project. I’ve been meaning to write a reflections post since the day I finished, so the subsequent Ash Wednesday seems like as good a day as any to finally pull one together.
40 in 40 wasn’t actually a thing until I decided it would be a thing, which I guess was sometime after the third day (all symbolism aside). The first song just happened to come on the night of Ash Wednesday 2011; for some long-forgotten reason I was feeling sad, so I grabbed my guitar and made a recording. At the time it was just an excuse to test out a new piece of gear - I had no idea what I was getting myself into - however, there was no stopping me once I decided I would record 40 covers in 40 days and made a personal commitment to the project.
Back In The Saddle (by steelopus)
First recording session for The Ripper. Great direct tone from this thing.
10 years ago today, FMGreen was at GFI Studios in Rochester where we were in the process of recording our debut album, Yellow #5.
We went in early on August 31, 2001 and left late on September 3rd. We spent a total of about 38 hours in the studio for those tracking sessions. Later we would return to GFI for our mixing sessions which lasted over 80 hours spread across ten days starting January 2nd, 2002.
Both sessions still get referenced today through a long list of inside jokes and rehashed arguments. So much has changed and yet so much remains the same.
So, my astute readers will probably realize that today is, in fact, not Easter Sunday. It is, actually, 6 days before Easter Sunday.
“But” they’d ask, “if Lent is always 40 days long, how did you managed to record 40 days worth of songs, starting on Ash Wednesday, and not end up on Easter Sunday?”
Well, as it turns out, Lent is longer that 40 days. In fact, it’s always 46 days in length.
“But” they’d continue, “how is that possible? Why don’t they just tell us it’s 46 days long?”
Little did I know, the six Sundays that occur between Ash Wednesday and Easter Sunday are not counted. I guess I repressed that fact along with countless other facets of my catholic upbringing.
“Huh.” they’d quip.
Yup. Huh. Indeed.
“So what does that mean for your 40 in 40 project? Will you be recording 6 more songs and re-branding the project to 46 in 46?”
No. I will not. Sorry. Instead, here’s what I’ll be doing:
I’m going to spend the days between now and Easter Sunday working on one song. I’ll give my full attention to one song to see how much better I can do when I’m more relaxed and not scrambling to finish recording by midnight each night.
You’ll just have to wait and see. I don’t think you’ll be disappointed.
Mastering is the last step of the audio process and if (when) we approve this reference copy, all that will remain for us is to complete the album artwork and have the CDs duplicated.
It’s almost time for the rest of the world to join FMGreen in Victory!
(Side note: overnight shipping is just yet another thing that blows my mind.)
Day 3 (Taken with Instagram at Rochester, NY)
Jack posted Vicarious this morning. The guitar in this song is enormous, but it’s not double-tracked. The huge sound came from 12 mics on 4 amps, all blended down to 3 tracks of a single performance. The result is an exceptionally clean and precise sound, not muddied by multiple guitar takes. Dear god, it’s truly beautiful tone.
The Ampex ATR 102 in action.
We mixed down to 1/2” tape and will send those reels off for mastering in February.
I really want to go back.
Something inside of me changes whenever I’m in a studio or while I’m actively involved with making a record. There’s a spark and an inherent sense that I should be spending all of my time there, creating. It’s hard to find the spark once I’m gone.
Neotek (by steelopus)
This one time I went to Chicago and it was awesome.