Ah, one thing I’m thankful for is a moment’s rest this weekend. It feels like we’ve been on the go since the beginning of September. Now we have a much needed long weekend off from work. Lizzy came home from college earlier in the week. We had an excellent Thanksgiving with family. Jeannie made a turkey and everything, and was an excellent time.
Today we did what was likely the major raking of the year: four cans and four more bags full of leaves. Now the branches are mostly bare. It seems a little late this year.
I’ve been spending alot of time this weekend playing and listening to music. We saw the Queen movie last week, which inspired me to go back and listen to some of the early Queen albums I haven’t heard in years. My college roommate Rich was really into them, particularly Brian May’s guitar playing. So I put on Queen II and Sheer Heart Attack. Such great stuff, a unique combination of heavy metal, vocal harmonies, and wonderful weirdness. I’d say I appreciate it more now than back in the day, especially knowing they did it all with analog circuitry and a 16-track tape deck.
I went thru and listened to the entire setlist for my rock band, about three hours of music, just to get it fresh in my head for next week’s gigs, plus a bunch of new songs we’re considering adding to the set. I’m at the point where I know all the songs well enough, and I know about half of them really well. But every time I listen I pick up nuances in the arrangement that we can use to make our version sound better.
I’ve also been listening to more jazz. The guys in my band have been raving about new stuff from Christian McBride, Brian Blade and Joshua Redman among others. I found Joshua’s new record and it was great. Now Spotify is walking me backward thru his entire discography. Each record is more enjoyable than the last. Lots of great ideas in there.
I’ve been writing new music for the jazz group too. For our last gig we had four new originals – Closing the Distance (Gary), Fever Dream (Jay), A Fat Cat (a.k.a. El Gato Gordo, by Rich), and Lift Off (mine), which is roughly enough for half an album. We have a bunch of other songs we’ve been developing. One of mine, Mobility, is coming along nicely. It’s been around for a while but as of late it’s taken on a sort of Raymond-Scott-meets-gypsy-jazz quality. So I reharmonized it to be in the Hungarian minor mode and to emphasize the diminished quality. Also add a heterophonic ensemble jam toward the end.
Another song of mine, Son of the Sun has been slower going. It’s a pretty intricate number that switches meter alot, mainly between 5/8 and 7/8. We started it way back when, but then we didn’t have a regular drummer for a while and it didn’t seem worth it to try and teach every drummer who sat in. When Erik joined full time we were focused mainly on the last gig. Now it’s back to developing new material. Some of the band seem to think it’s a bit to outside of “our sound”. I find this kind of thinking really limiting and frustrating, but it didn’t help that the demo recording I had was from my heavy-metal fusion band from the 90’s. So I think I’ll put together a new demo with a sound closer to what I have in mind for this group.
Meanwhile I have two new jazz numbers I’m writing. One is based on the idea of a four-bar loop, and has a working title of Heavy Water. The other one, which is further along, I’m thinking of as a “melody” song, a midtempo number with the general feel of something like A Foggy Day or Dolphin Dance. The song explores major seventh chords, and has a bright, spacious sound, and a fair amount of modulation. It kinda started with me exploring the middle section of Sun of the Son, trying to make is sound less heavy. But then it quickly developed in an unexpected direction and became something new. It’s almost there, but not quite; I’m still kind of experimenting and exploring. I want to get the turnarounds really working tight. A great melody has a feeling of inevitability about it, like once you hear it you can’t imagine it going any other way.
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The big news on the music front is I had to buy a new computer last week. Down in my recording studio I have a Mac workstation that’s a few years old. It’s connected to a MBox Pro III and runs a particular version of ProTools. I should also mention that since the release of the third Buzzy Tonic album, Elixr, I went back have been remixing the previous Buzzy Tonic record, Face the Heat, originally released in 2011. I was never fully happy with the sound of that record, and since then I’ve become much better at mixing so I figured it was worth it. And it’s is been coming along here and there late nights and weekends. I was almost done, seven of nine songs in the can.
A couple of months ago the screen on the computer started flickering and then it froze, and I had to reboot. The problem went away and didn’t come back until last week when it started happening repeatedly, until finally wouldn’t come back at all after rebooting. Luckily I have everything backed up on time machine and only lost about an hour’s work from my last session.
So I was all set to buy a brand new IMac Pro, but then I got to thinking about how it would integrate with the current rig. There’s no obvious upgrade path from my current version of ProTools to one that would run on a new OS. And that’s to say nothing of my numerous plugin, some of which have licenses tied tot the machine I’m pretty sure. It just seemed like a potentially bottomless hassle and expense.
So Jeannie stepped in and helped me out. She found a used/refurb computer of the exact same model as mine on Ebay for like five hundred bucks, about ten percent of the cost of a new one. It arrived just two days after we placed the order. And all we had to do was plug in my Time Machine drive and restore the last backup and Viola! Back in business! The computer was able to launch ProTools and talk to the MBox and I was able to continue with my mixing right where I left off. All the plugins I needed were still valid. It looks like I may have some issues with SampleTank, a software synth/sampler which I’ll need when I get back to tracking. But I’ll cross that bridge later.
For now, I’ve finished my penultimate mixes for all nine tracks. This is basically the final mix before mastering. My workflow nowadays doesn’t really include a mastering phase. I’ll sequence the CD and make sure all the levels match, but all the tracks have a dynamic compressor on the main out, so if I need to make any adjustments I’ll just go back to the track. So I have to listen them all together, and A/B them against the old mixes, and against the newer album. I may end up tweaking the level of a compressor, or raising or lowering something by a dB or so, but that’s about it. I was hoping to get this project done by end of Thanksgiving break, but now the goal is by the end of the year. Then in 2019 I’ll start in on BZIV.
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Just a couple random things during my downtime. Michelle and I finished Avatar: The Last Airbender a few weeks ago, and now we’re watching Firefly. She’s hooked. Shiny! And I’ve been reading Robert Lang’s newest magnum opus Origami Twists, Tilings and Tessellations. I’m well over a hundred pages in and only midway thru chapter two.