This week I had the treat of recording with a band I just met. I saw Head Eclectic at the 331 Club and asked if they had a CD. Nothing! What a travesty. So I asked them to be a part of this song a week challenge, and the results are in.

A Minor Monster
by Head Eclectic

She checks her balances
Update the deficits
Print more money quick
Blueprint the Mazes

And as for the kids let ’em sleep
All their problems mapped out in their dreams
He looks behind him in the street
His Hands are full of sand but empty
But empty

Put all your problems on the kids
Just to see how they handle it

She gazes at them sleeping in bed
Strangely they remind her of herself

All their problems mapped out in the trees
He looks into the street
He’s red from all the heat

Who’s got the big red shoes, he asks
Kid, here’s looking at you
With the look in his eye…
Meet me at the very bottom

Josiah Quick – Vocals, Guitar
Wyatt Simmer – Bass
Thomas Myhre – Synth, Rhodes Piano
Joshua Perez – Drums

First up, Joshua on drums.

“A Minor Monster” challenged my mixing skills right away; it’s the first song of this challenge to have live drums. I used all five of my microphones (see this post for the specs) and tried to find the best spots to place them. I put one mic over the hi-hat, one near the floor tom and ride cymbal, one right next to the snare and high tom, and one right underneath the crash cymbal. I stuck my kick drum mic right into the soundhole, about 4 inches behind the beater.

We were having some trouble getting the snare to sound good. It had a ton of ugly ringing tones. Luckily Joshua had a trick up his sleeve. He rolled up small pieces of (clean) toilet paper and taped them right on the snare head. They were perfect improvised mutes.

After the drums were tracked, everyone plugged into my mixer.

Because the whole rest of the band is electric (aside from Josiah’s vocals), I had them plug in directly to my mixer, and we recorded everything simultaneously. Then later on, I ran Josiah’s direct guitar recording through his amp and re-recorded it. For the final electric guitar track, I ended up using a mix of both the amped recording and the direct-in recording (with a number of Ableton effects).

It was great working with these guys. Check them out next time they’re playing around the Twin Cities. facebook.com/headeclectic

This week’s song is a dark, cinematic one by my cousin Nate Graves (aka Kurtz). It’s a complex production – vocals, keyboards, squeeze box, violin, bass, and a ton of other synth sounds stirred into the mix. On top of that, the song has tempo and time signature changes. In other words, it was a blast to produce!

Let’s try the one where we
Feed the bears
Oh what love
Oh what terror
I will mix sugar
With blood
And feed, feed us
To the young

Uh oh, uh oh
Uh oh, uh oh
What is happening?
Uh oh, uh oh
Uh oh, uh oh
I am stuck again
Uh oh, uh oh
Uh oh, uh oh
Let’s try the one…

Let’s try the one where we
Shoot the gun
Oh what hell
Oh what fun
I’ll eat rocks
And shards of glass
Oh discomfort never lasts

Uh oh, uh oh
Uh oh, uh oh
What is happening?
Uh oh, uh oh
Uh oh, uh oh
I am stuck again
Uh oh, uh oh
Uh oh, uh oh
Let’s try the one

Where we bash our skulls
Up against the wall
What am I saying?
Which one is this thing?
The one where I-
Where we-
But wait
But please

I get thinner
I get faster
I get perfect
For disaster

Recording keys in Nate's basement

Nate’s been involved in a bunch of artistic projects worth checking out. Back in March he put out a futuristic concept album under the alias Kurtz:

Nate also produces avant-garde films with his brother Matt. The two of them are also members of the dissonant rock band With a Gun for a Face. Their stuff isn’t everyone’s cup of tea, but I think it’s all pretty fascinating and awesome.

Behind the Scenes

Our biggest challenge at first was figuring out how to do tempo changes while still keeping a metronome going. I’d messed around with that in Ableton Live once before, but this was the first time I actually used it for a song. It was really just a few steps of work though.

1. Recorded a scratch track of the whole song
2. Found the tempo of each section
3. Mapped out the whole song in Ableton with the tempo changes (using envelopes) so our metronome would be right on

After we got the basic keyboard part down, we went up to record Nate’s vocals in his attic recording room. He’s developed a pretty cool vocal technique of recording takes in a ton of different styles, all the way from yelling at the top of his lungs to whispering. That gave us a huge palette of vocal sounds to work with. We discovered that blending them all together turned out to sound really haunting and cool.

Recording squeeze box in the attic

Next came the layering on of effect instruments. Nate recorded single notes on his squeeze box, and we pitch shifted them as needed to add a little organic drone to parts of the song. We came up with a few more synth lines and a simple MIDI drum part that night.

Back at my place, I had one main task: make the chorus more intense. I happened upon an awesome sounding MIDI taiko drum (“taiko” actually just means “drum” in Japanese). So I came up with a pretty fast beat, using a lot of thunderous rolls. Then I tried to match that style with the bass part, and man, was my right arm dead after recording that chorus. It’s the most athletic bass strumming I’ve had to do.

After that I dusted off my violin, which I was excited to try out for Nate’s song. For the pre-chorus and the bridge, I recorded two harmonizing lines. Then I tried out an effect called col legno, where you rotate the bow and use the wooden part to tap the strings. It’s an eerie effect used in a lot of classical music to evoke skeletons, evil, etc. One of the best examples is in Gustav Holst’s Mars:

Sound like Star Wars to anyone else? Guaranteed John Williams listened to some Gustav Holst.

Anyways, it was a fun song to work on. Hopefully Nate and I will do some more collaborating in the future.

This week I recorded with two of my former roommates, Pat Boerner and his fiancé Brittany Miller. This is actually the first song Pat ever wrote and Brittany helped out with, and now years later it’s finally recorded!

Hey don’t you fret now I know you’ll make it
You’re feeling blue and your thoughts are racing
Just breathe in slow and let me squeeze my baby

Hey baby don’t wait too long to stop thinking
You keep so quiet, you’re not helping anybody
Well don’t be afraid, you can tell me

I don’t know why you keep me so far away
But I’ll wait, I’ll stay
Until you think you’ve got something to say
You keep me so far away
But I’ll wait, I’ll stay
Until you think you’ve got something to say

You’re so composed but I know you’re faking
You try to smile but your lips are shaking
So I’ll be here when you just can’t take it anymore

Hey baby don’t wait too long to stop thinking
You keep so quiet, you’re not helping anybody
Well don’t be afraid, you can tell me

I don’t know why you keep me so far away
But I’ll wait, I’ll stay
Until you think you’ve got something to say
You keep me so far away
But I’ll wait, I’ll stay
Until you think you’ve got something to say
Until you think you’ve got something to say
Cause if you think you’ve got something
Then say it to me baby
If you think you’ve got something to say
Think you’ve got something to say

Pat and Brittany have written and recorded several awesome songs, many for the SpinTunes songwriting contest (check out “Baby Go To Sleep” – one of my favorites). So I was excited to work with them and bounce ideas off of each other.

Pat and Brittany, clearly in awe at how awesome the song was sounding.

We started by recording pat’s piano part. I was considering recording the audio signal from Pat’s keyboard, but I decided instead to record only the MIDI signal from his keyboard. If you haven’t tried using MIDI, I highly recommend checking it out. Instead of recording the actual sounds from a keyboard, you record the raw data of which notes are pressed when. The old-school equivalent of MIDI is when people recorded piano rolls for player pianos. The sweet part about MIDI is that you can change the timing of notes, change the pitch of indiviual notes, or draw completely new notes in. You can also decide at any time what synth instrument you want to play the part.

The MIDI "piano roll"

So once we had the piano part down, we moved onto Pat’s vocals. He knew from his own recording experience that he would want to do a bunch of takes, so we ended up doing about seven of them. He pretty much nailed all of them, but it just gave me a bunch of different options for my “best of” mix that I did for the final vocal line.

Over the next few days, Pat recorded the trombone and trumpet lines, we assembled a MIDI drum track, I recorded the bass and guitar parts, and Brittany recorded the harmonies she wrote. It was that simple! Ha, if only. It took quite a bit of work to get all those parts recorded and mixed. The final count is 40 different instrument tracks, not including the takes we didn’t use. One night I stayed up til 2:30am recording the guitar, then woke up with an idea at 5:30am and recorded until I had to go into work. Totally worth it though.

Check back this week – my roommate Jeff Schwinghammer shot some behind the scenes footage, and is editing it as I type this post!

This past week I worked with filmmaker Jason P. Schumacher to record his debut solo song, “Secret Selves”:

Secret Selves
by Jason Schumacher

I’m so lonely
You’re the only one I’ve known
The only one I’ve shown
The way I am on the off days

No one knows the ways
No one knows those days
Our secret selves, on shelves
Tucked away

Time with you
Nothing to do get it back
And your lack of regret
has it just not surfaced yet

I’m so lonely
You’re the only one I’ve known
The only one I’ve shown
The way I am on the off days

Behind the Scenes

When I first asked Jason what his song would sound like, he was prepared to answer; he gave me a backing beat, a synth line, and a 14-song playlist for inspiration. His mix was filled with Tom Waits, Lykke Li, David Bowie, Primitive Radio Gods…actually a lot of music I hadn’t heard. I’m glad he also introduced me to Leonard Cohen’s “Suzanne”. What a beautiful song.

Jason and his funky (as in strange-looking) bass

So with the overall idea of the song in mind, we recorded everything in one day, and I spent a bunch of time mixing it afterwards. Electronic songs are great fun for me though. If this wasn’t limited to a week, I could’ve toyed around forever just trying out different synth sounds.

I don’t want to bore you non-audio-nerds with details about all the effects I cooked up, but I thought I would share one cool thing Jason and I did that makes a huge difference in the song. I’m not even sure what to call it, but something like “the reverse tail method” is the best thing I can think of. First, Jason recorded individual chords on electric guitar. Then I reversed each one of them to make it sound like a series of waves that crest at the first beat of each measure. This effect is great for creating suspense and momentum into the next measure.

Reversing the electric guitar in Ableton Live. The top two tracks are the normal electric guitar chords (stereo panned), and the bottom two tracks are the reversed chords.

Take a listen to the guitar by itself:

Then the guitar in context with everything else:

I had a great time producing Jason’s first ever solo song. I believe this is actually the start to an EP that he will be putting out at some point in the future. Until then, if you need a Jason fix, check out some of his videos.