Well, that trick worked, mostly. I copied the nice, tight drum track from the 120bpm project into the original, 135bpm project, and started re-recording the bass, locking in to the new timing.
Here's a teaser, from the end of the guitar solo where everything is getting quite excitable:
Just listening to this, I can hear some places where the drum velocity levels should be tweaked a bit. The toms are a bit loud and brash, and could do with a little less reverb.
Still... it's much better. Now to adjust all the other instruments to fit!
It's February, already. Dammit.
I've been stuck on the drums in Future Imperfect for ages, succeeding only in making tiny incremental advances. Not working.
I'm not a drummer, but when I flail wildly with the sticks on the old rubber pads, sometimes great stuff happens that couldn't have been done on the step programming/pressing the keys on the synth technique. And I'm greedy. I want the coolness, all the way.
But this incremental thing isn't working. There's some drum fills and hihat stuff that I can't do at 135bpm.
Therefore, I'm trying something slightly different. I've copied the entire project's timeline and dropped the time sig to 120 bpm, and I've got a simple guide click track that follows all the 4/4 : 7/8 changes with beat hints, and I've replaced the new bass track (which rocks, by the way, no problem playing that in time) with a cloned MIDI version and dropped that into the new project - instant 120bpm guide bass to play along with (I know, I could stretch the original audio track using tools like Audition or even the built-in tech in SONAR, whatever it's called, to get it to 120bpm, but this quantized MIDI bass track is working better for me, so there.)
If it breaks the block, it'll be worth it.Now I'm trying to record the drums again, but at 120 bpm instead of 135. When I'm done, I'll just copy the MIDI notes back into the original project, and hopefully we'll have an excellent drum track, at the right tempo, that meshes with the existing bass audio and other instruments.
I've refreshed the Head in the Game mp3 on this site. The Chapman Stick has been retired in favor of the Carvin 5 string bass, processed using Amplitude 3 the Line6 POD 2.0.
I think it is much improved. While I was mixing the bass I improved the balance of some of the other instruments (most notably turning down the jangly rhythm guitar in some places).
Updated 14.April 2013:
Also re-did some of the drums. And re-recorded the bass. And all the guitars. And the lead monosynth. Then I remixed it.
For the last twelve months or so, I've been riding this big rig of musical energy that just kept moving forward, but it seems to have run out of steam. Future Imperfect sits on the hard drive, begging for me to finish up the drums which are only half-done, and I'm not able to push myself to do it.
My experience has been that if the muse isn't there, don't bother. I'm never happy with the results. So, as the new year looms on the horizon, I'm coming to terms with the fact that the revised schedule for completing album #1 is going to have to be, um, revised.
Still, that's what plans are for. Revising.
All is not lost, however. I've recently picked up the Bass again, partly because I discovered my nephew was getting into the instrument and I wanted to review some reference material I was planning on sending him.
Then I started playing with Guitar Rig 4, trying to emulate the famous Chris Squire bass sound from the Fragile era. Some success, too. After running through some classic riffs, I loaded up the Head in the Game project in SONAR and started playing along...
As you know, I hate re-doing material that is supposedly finished and complete (/sarcasm) but I think the muse might be telling me that I need to put a little bit of work in on this.
Oh, and the Tone is in the Fingers, people.
November was eaten up by being sick and taking a couple of weeks in New Zealand for a family visit. Then I got sick again.
Now it's back to working on Future Imperfect, re-recording the drums.
I'm so close, I can taste it. After finishing up Into The Shade, I moved on to Interlude #1, re-recording all the guitars and replacing the string pad with a string quartet (thanks to Dimension Pro).
I've left Slaying The Dragon as-is for now - but it is only 70% complete so I will have to come back to it eventually - and have jumped into Future Imperfect, re-recording the bass; revising the "trumpet" synth with CS80V goodness; and re-doing the drums with my current SPD-20 + Addictive Drums combo.
Oh, and Cakewalk released a new version of their flagship digital audio workstation software, SONAR X2. I didn't expect to adopt it (because I hated the X1 release) but I've been impressed with the changes - look out for my review/criticism write up in the near future.
One other thing: I've decided to give Strange But True another look. I think I rushed the process of review earlier this year, and when I hear it in context of other work I've finished recently, it's not holding its own. That's depressing for me (see the first sentence in this post) but I think it is worth the extra effort.
The verses of this song are based around a simple fingerstyle guitar riff that I came up with years ago. We had a clear idea about the structure of the song; and we had a melody for the choruses; and Walter came up with a wonderful chord progression for the "middle-eight" break and guitar solo. But that was all we had. I guess we could have just left it in the vault, unfinished and un-realized, except for the fact that it is a vital component of the Strange But True suite: the verse chord sequence is a 180 degree flip of the verse chord sequence from a later song in the suite (Future Imperfect, if you must know). And the symmetry is just too cool to discard.
So earlier this year I sat down with my lyric book and worked up a set of lyrics that suited the mood of the piece, and started to record. Over these last two months, the song has really come together faster than is typical; indeed, I am currently listening to "final" mixes in the car and I'm still not totally sick of the music, which unfortunately is the norm at this stage.
Feel the need to learn and test our self-reliance
Push the limits of the land and who we are
Put our minds to solving mysteries with Science
Sending probes to the nearest star
Gas emissions feeding ozone deconstruction
Grain belt slipping up the belly of the beast
Commerce engines driving tubes of mass seduction
Siphon payday to the priest
Long ago we stamped our feet to the rain-maker's melody
Felt the beat and electric heat of the thundercloud parade
Stretch a hand to the medicine man, taste the latest remedy
Every nervous reflex reeling us into the shade
Emotional wrecks at security checks for our protection
Iron curtain rising in the final act
Product placement in the pay-per-view election
Faith is trending over Fact
In the flickering shade of a Steel Tree, in the battle field's sterility
Feel the sweet electric beat of a sixty hertz crusade
Purple pills from the Pharma Girl; tickets to tranquility
Tuning in to the scorpion dancing into the shade
Is it right for you? Ask your Doctor; Drink the magic potion
Join the ranks of the no-think tank; blinded by the Right
We are reflected in the plastic-covered ocean
Toxic soil on sacred sites
Too much noise, too much information
Unfiltered data feel a vague sensation
Century overload; can't tune out the station
Solving every problem with the wrong equations
under the flickering steel tree
where I bombed you and you bombed me
music © 1989 Colin Nicholls & Walter Nicholls
Lyrics © 2012 Colin Nicholls
Sometimes you just have to acknowledge that things aren't working out. For whatever reason, I could not get the drum, bass, and acoustic guitar tracks to gel. I got tired of tweaking to no effect, and decided it was time to shake things up.
- Mute the drums and the Chapman Stick.
- Activate the click track.
- And break out the Carvin BK5 and lay down an alternative bass track.
In my head I'd always heard the bass lines played on a Stick, and almost instantly, the feel of the piece changed, but in a good way. The change in feel is inevitable: a normal bass guitar lends itself to a completely different vibe than the Stick, but suddenly I was thinking of alternative cool riffs and laying them down in places where, before, magic was missing. This was a good thing. Sure, that one particular riff that kinda wanted to be a Stick riff didn't sound so cool anymore, but this was offset by all sorts of good stuff coming in elsewhere.
Once I had a good, clean, complete take, I moved to the acoustic guitar, and re-did any part where it wasn't locked in to the new bass line. Yeah.
Now it's back to the drums for the same treatment. There's some places that need tidying up, and the second half of the track never had anything more than guide drums on it anyway. So... it's progress. I wish it was faster, but at least I'm happy with the results.
Here's a teaser:
Chapman Stick is all recorded.
The timing was getting a little sloppy with all the "guide" tracks, so I went back and created click track that was locked into the acoustic guitar, because that's a track I'm least likely to want to re-do... then recorded the Stick bass to the timing of the click.
Now, of course, I need to tweak the drums into line, and re-do a couple of places where I need to complement bass flourishes. Progress is good.