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Everything posted by tunesmithth

  1. “Don’t Lie To Yourself" was written & recorded back in 2002. I filed the copyright as a single work, rather than a collection. Time was of the essence, since I was entering my very first songwriting contest. The "Billboard World Song Contest". Since the Billboard was one of the larger contests, I had no idea what to expect. While it didn't win, it didn't go completely un-noticed. The Idea My songs typically evolve from one of 4 starting points: - a chord progression - a riff/pattern - a section of melody - a central theme When I began writing “Don’t Lie To Yourself”, there wasn‘t much to work with. · A simple chord progression I liked, which evolved into my chorus section. · The hook (title) – “Don’t Lie To Yourself” and a tentative melody for that one line. That was about it! Subject Matter Titles like this one paint a clear picture of the intended message. Simply put, it’s lyrical advice – “be honest with yourself”. Typically, lyrics with a ‘telling” tone are discouraged in songwriting circles. Folks don’t enjoy being told what to do, or how to think….even in a song. Regardless, I decided to make an exception. The hook line…. · flowed nicely · was memorable · contributed to the overall mood I was hoping to achieve Since the title was my central message, the chorus sections were used to re-enforce that message and expand upon the “whys”. Both repetition & harmony proved useful in that process. The verse sections for this song were written last. The chorus was the message delivery vehicle, but something needed to set the stage for that message. That was the goal of the verses. They would be used to creatively describe the circumstances which gave that message importance. Video Demonstration - Lead Guitar / Instrumental Verse (34 seconds long) So….back to that lyrical message! Here it is in a nutshell. Verses.......... Regardless of what we’re taught as children, lying is one of those undesirable realities of life. The older we get, the clearer that becomes. In polite society, it goes by many names…. fabrication, mis-speaking, embellishment, selective omission, spin, stretching the truth. But when you strip away all the niceties, it comes down to varying degrees of the same thing – "something other-than the absolute truth". Choruses........... Despite the fact that lying is such an ingrained part of our existence, we need to be honest with ourselves. The lie that you tell yourself is a sucker’s lie & YOU’RE the sucker! Lyric Spend our lives…tellin’ tales Stretch and bend…the truth Learned that when…reality fails A lie may do But don’t lie to yourself You’re the only one to lose Don’t lie to yourself A lie only a fool would choose Life demands…shaded truths Hype & spin…abound As we grow…beyond our youth Truth is rarely found But don’t lie to yourself You’re the only one to lose Don’t lie to yourself A lie only a fool would choose Don’t lie to yourself You’re the only one to lose Don’t lie to yourself A lie only a fool would choose Copyright 2002- Tom Hoffman Song Structure Introduction / Verse / Chorus / Instrumental Verse (guitar solo) / Verse / Double-Chorus / Brief Ending Musical Fundamentals The song is set in the key of E minor….BPM 116 Unusual as it seems, the “introduction” was the last part added to this arrangement. What can I tell ya’? It happens! Fortunately, I remembered a guitar didi I’d written the year before. It fit the song nicely, but I needed something to help merge it with the first verse. The solution was a single bass note, sounded on the last stroke of the intro section. In the final mix, that sustained note begins quietly, then gradually becomes louder. That intro guitar didi I referred to consists of 2 separate acoustic guitar tracks. The first plays nothing but 2-note intervals. The 2nd is comprised of open string harmonics, which generate an eerie texture. The guitar arrangement for this song was a bit of an experiment. Other than bass, there are no electric guitar tracks. It contains 3 separate acoustic guitar tracks, each performed on my trusty Yamaha…recorded through a condenser mic. The simulated string track you hear wasn't in the original version. Back in 2002, keyboards weren't part of my musical arsenal. Some years later, in an effort to add diversity to the arrangement, strings were added to the existing mix. Real drums were used for this recording. The part itself employs both half-time & full-time beat structures. - Half time is used exclusively until the 2nd chorus section. - Both the 2nd & 3rd chorus sections are set in full-time. - Finally, it switches back to half-time for the ending. Final Production Notes The recording was done on a Tascam PortaStudio 788. It’s an 8-track digital recording deck, consisting of 6 mono & 1 stereo channels. - Drums were recorded to the only stereo pair of tracks (7/8) - Everything else went to single mono doubling of any parts Performance Credits Drums, Acoustic Guitars, Bass, Keyboard Strings – Tom Hoffman Vocals – Tom Hoffman You Tube Video Version (*includes full song) - Tom Hoffman Songstuff member profile The Story Behind The Song
  2. Ran across this on social media this morning....thought it might be fun for members here. Honestly, I'm not sure I'd set my future course according to these results, but it was harmless fun. If you decide to participate in this 10 question, multiple choice screening, please share the result. I should be a "Drummer" Good to know!
  3. I've always been of the opinion that music serves very little purpose unless someone listens to it. Really...what else is it good for? You can't wash your car with it, the grocery stores won't let you buy food with it and it doesn't make a very good hat. So....with that in mind, is yours' being listened to? Fortunately, mine is. To those uninvolved in music creation, this question may sound like a stupid one. Honestly, I wish it was! But in the online music world, this topic doesn't garner nearly as much attention as it deserves. Fact is, it tends to take a back seat to things like: What your numeric market ranking is on Reverbnation? How many "likes" your band/artist page has on Facebook? How many "play clicks" you've racked up on your various online players? How many subscribers you have to your YouTube channels? How many false online identities you've set up to aid in promotion of your own material, sites & blogs? How many "followers" you've racked for your "Fandalism" page? How impressive the graphic design of your virtual presence is? In the world of online music generation, it's almost as if "music" has become a trivial detail, rather than the end game itself. Music now serves as a virtual ticket, allowing entry into this huge online video game known as "Indie Music". Players don't win by improving at their craft. They win by doing whatever's necessary to generate numbers & the appearance of credibility. I said the "appearance" of credibility because "likes", "play clicks", "subscribers" & "followers" can be purchased or generated through artificial means. This isn't a new phenomenon either! The illicit world of digital assistance-for-hire has been around as long as the internet itself. In recent years, much of my online musical interaction has taken place on While Songstuff is primarily a musician/songwriters resource site, we do our best to assist with any & all musically related questions. More & more, questions from new members touch on subjects like: The legal aspects of the industry (copyright protection, licensing, etc.) The safety & security of their online songs/lyrics (how can they be certain they won't be stolen?) How to get ahead in todays' music business Can we recommend various types of short-cut software?....everything from scoring software to artificial music creation programs. Can we help them get hooked up with a "Producer"? To be perfectly honest, I find this trend more than a little disturbing. Music creation should be about creating art, NOT about protecting rights and quick money! Personally, I was drawn to writing for 2 reasons: my lifelong love of music a genuine interest in creative self-expression It truly bothers me that things are becoming more about short-term personal gain and less about the listener and the overall musical experience. In my mind, when creation becomes more about the artist than the art, the world's in trouble! Anyway, returning to the question posed by the title. For someone like me, the internet age is an absolute Godsend! It allows me to offer my music to a vast pool of potential listeners. Despite my being a tiny fish in a huge musical ocean, listeners manage to find me at Although I do maintain a number of other sites, the bulk of my online music is there. I own the domain name, maintain the site and therefore control the encoding quality of the mp3s offered. Since I don't pay for professional mastering of my tracks, encoding control is particularly important. Most sites of this type provide extensive tracking data. Honestly, I don't look at it much, but I do occasionally check to see what kind of traffic the site's drawing. The chart below is an example of one category of tracked data. It's also the reason I'm able to tell you with absolute certainty that my songs are listened-to! What you're looking at are stats for the month of January 2014, taken early evening on the 31st. From this data, I can not only see that "Don't Lie to Yourself" was the most frequently played track (551 times), but I can also tell you that virtually every listener played the entire song. See that "average size" reads 5.5 MB, which also happens to be the actual size of the song file. "Someday" didn't do quite as well. It shows a 4.98 MB usage, with the actual song file being 5.47 MB. Although it did very well, it's obvious that it wasn't what some folks expected & they chose to move on prior to completion of the track. The portion of the chart I copied covers only 6 of the available songs, yet the combined total of those 6 is in excess of 1,200 listens. Those aren't new songs either. Matter of fact, the average age of the top 5 is somewhere around 10 years. closing I'll ask you once your music being listened to? Given my reasons for musical involvement, does it feel good to know that mine are? Damn right it does! Music isn't good for much unless you've got someone to listen. ***Next addition to "Tips & Tidbits" is titled....Online Credibility. Should have it posted late Feb. Tom Hoffman Songstuff member profile
  4. I was thinking about my early days as a songwriter. Reflecting back on the antiquated, tedious process I worked with for almost 6 years. Hard to believe what I went through every time I needed a drum track for a new song! That being said, when I listen to those old recordings, I’m amazed at how well some of them turned out. Hopefully the details of that process make for an interesting article. *Examples of those old recordings are available throughout the article. “Slow Down” - My adventure as a songwriter & home studio aficionado began back in 1994. Digital home recording devices were starting to make their way onto the market, but analog was still the dominant force. It was also the more cost-effective of the two. That being the case, I opted for a 4-track analog cassette style recorder…a Tascam 424 PortaStudio. The PortaStudios were decent devices, but they had their limitations: No onboard effects or compression No phantom power Very few microphone inputs To overcome those limitations, I purchased a number of supplemental devices: An 8 channel Peavey analog mixer w. phantom power A Peavey DeltaFex effects processor A DBX analog compressor These were used in conjunction with the PortaStudio….providing me with reverb, compression, multiple microphone inputs & phantom power (overhead condenser mic.) Without getting overly technical, here’s an overview of that setup…. Drum set mics were fed into the Peavey mixer. Depending on the song, anywhere from 6-8 mics were used….Shure SM57’s with an EV condenser mic overhead. The Peavey EQ’d each channel individually, added a preset amount of reverb to each channel signal, combined all the incoming signals into one stereo signal, sent that 2-channel stereo signal out to its next destination. That next destination was the DBX compressor. It processed the signal, then sent it to the Tascam 424 recording deck. On its way to the Tascam, that 2-channel stereo signal was reverse-Y’d into a single mono feed, which was then recorded to high bias cassette tape. Unfortunately, with only 4 recording channels available, that final drum track had to be mono. Eventually, that mono track was bounced over (premixed) & combined with the bass guitar track. Fact is, the majority of my analog masters are set up that way. The final drum & bass guitar recordings share a single mono track. There were a multitude of issues associated with the process I’m describing: All drum mic adjustments had to be made pre-tape. That meant I had to balance each mic volume as best I could…accounting for bleed, make EQ adjustments per-channel at the mixer, set type & desired amount of reverb for each channel, adjust individual & master fader volumes to non-distorting levels. Needless to say, once these parameters were set, I made only minor adjustments from recording session to recording session. Essentially, I tried to improve whatever shortcomings existed in the previous recordings. Once a final drum track was recorded, it was set-in-stone. The BPM was locked in…mic volume, tone & effect were virtually fixed. If the ride cymbal was too loud or the snare sounded over-compressed, I had 2 options. The entire track could be re-recorded, or I live with the imperfections. Simple as that! The decision always hinged on 2 variables. How much imperfection was I willing to tolerate? How noticeable would those shortcomings be in the finished version of the song? Because of the need for premix bouncing, my bass guitar recordings were also fixed. I had to estimate what EQ settings might be best once the other tracks were recorded. Same was true for the volume of the bass in relation to the drum track. Once drums & bass were bounced over, the combined mono premix was fixed. Unlike digital systems, analog recorders didn’t offer virtual track storage. So….once a bounce was complete, both original tracks were erased. That opened up additional track space, allowing new instrumentation & vocals to be recorded. Since I worked alone, components that required monitoring were positioned close to the drum stool. In other words, I had to be able to see the meters while I was playing drums. Fortunately, once the initial parameters were set, the only thing I had to monitor was input signal to the mixer. That signal couldn’t venture too far into the red. The photo below shows where the Peavey was positioned. The recording deck meters were not in my line of sight, so I had to trust the accuracy of my preliminary settings. Playback was the only way to verify results. If something had gone wrong, the track was rerecorded. * “Love Will Find Me” - As if that wasn’t difficult enough, there were other issues. Once a new song had been written, arranged & roughed-out…it was time to begin the final recording (keeper version). If the song had drums, they were always recorded first. As is the case with live performance, better results are achieved when everyone plays to the same rhythmic center…in this case drums. But getting them down first wasn’t a simple task. With the old cassette style recording decks, click tracks weren’t possible. Track bleed was so bad, that ghosts of the original click would remain audible even after complete erasure. That being the case, the logical alternative was to play to an electronic metronome. That gave me a timing center, but virtually eliminated the possibility of over dubs. Since the click was completely independent of the recorded drum track, there was no way to match the 2 for auto-punch patchwork. Bottom line…the vast majority of drum tracks were the result of start-to-finish takes. In other words, the entire part was played straight through. Another standard practice for drum-first recording is the use of a guide track. Guide tracks give drummers a basic outline to follow. That way they’re hearing a roughed out version of the music while playing along with the metronome (click track). It helps in remembering the feel of the song, where various sections begin & end, etc. Bottom line….I couldn’t use a guide track! The reason once again was track bleed. Ghosts of that roughed out guide were audible on the finished drum recording. So I became very good at memorizing new tunes, start-to-finish. By the time I was ready to record, I knew a song so well that I could hear it playing in my head all the way though. So….none of those analog tracks were played to music. The only thing playing besides the song in my head was the constant click of the metronome. 2 measure count-ins were recorded at the beginning of every song. This was an absolutely must! Since drums were recorded first, there had to be a way to accurately tell where the song started. How else would I know when to begin playing or singing as additional tracks were added? Obviously, that section of the tape was later erased. Since beginning sections were trimmed off in final production, track bleed really didn’t matter. At the beginning of this article, I mentioned thinking back on this whole process. The reason for my nostalgia was simple. A few months ago, I set up a new YouTube channel called “The Story Behind The Song”. Several of the songs used for the channel were early recordings. Some of those made passing reference to the fact that I had changed from real drums…to an electronic method of creation. The videos weren’t the proper format for an in-depth explanation of why. But I thought a blog article might be. If nothing else, it can serve as reminder of how much simpler things are for home recording enthusiasts today! * I’ve included links to several Video Examples of these early drum recordings below. Tom Hoffman Songstuff member profile
  5. Tip #1 - The music industry is a business. That's important to understand because....if you deal with it as anything other than a business, you will almost certainly fail. If you've had very little business experience or lack a basic understanding of how they operate, you need to learn. Why? As I said above, you cannot succeed in something without first possessing a basic understanding of what it is. Talent, musical proficiency dedication to your goals & self-confidence are prerequisites, not your ticket to stardom. Think of them in as you would a college degree. The degree itself guarantees you nothing....other than the opportunity to compete for what you want. Intangibles such as "creative integrity" may have value to you & your peers, but NOT to a business. As a general rule, businesses care about 2 things - making money & saving money. When you present yourself to industry representatives, keep that in mind. If you can convince them of your ability to accomplish one or both of those goals, that should get their attention. If you're unclear about how someone might "save" a record label money, I'll leave you with 2 examples: Think about the huge growth of the pop, rap & hip-hop genres in recent years. The bulk of the music & arrangements for those genres is created via software & sampling. That means fewer session musicians, less studio time and lower overall cost of production. They're able to sell those CDs & downloads at a competitive price, but the profit margin is higher because of the lower production cost. Do you really believe that change in public buying habits was a lucky accident? If you happen to be an artist with a huge online fanbase/following (Justin Bieber), that's tangible selling point. A huge ready-made fanbase means lower promotional cost for the label....again, saving them money. Tip #2 - Beware of the "Scamortunity" As you might guess, the term is meant to describe a scam disguised as an opportunity. What does a scamortunity look like? Not an easy question to answer, since they come in many forms. As a general rule, the more unbelievable the opportunity looks..... the more skeptical you should be the more extensively it should be researched the more reluctant you should be to participate In other words, if it seems too good to be true, it almost always is! Most cons (scams) are designed to take advantage of existing vulnerabilities. In the case of songwriter/musicians, those vulnerabilities are well known & numerous. Don't allow belief in yourself, belief in the uniqueness of your creations & desire for recognition to become liabilities in your quest for success. Remember....the music industry is a business & should be dealt with as such. In business, opportunities rarely come looking for you. Don't expect them to seek you out in this industry either. With very few exceptions, they won't! Tip #3 - Nothing is owed to you. Many in this business develop the attitude that the world/industry owes them something. Simply put, that is not a productive mindset & will do nothing to further your career. Countless hours of dedication to your craft, skills, talent & creative ability are prerequisites....not entitlements! Virtually every one of your competitors (fellow musician/songwriters) has worked as hard as you have....sometimes harder. Those prerequisites earn you the right to compete, nothing more. View them as you would a high school diploma. That diploma doesn't earn you money, it does get you a job & it won't guarantee admission to the college of your choice. But without it, you don't even qualify to compete for those things, because the majority of your competitors have one. Forget about concepts like fairness. The world of business is based on many rules, but fairness is not one of them. Tangible results rule the day. Tip #4 - For God sake, spend a couple dollars & get your finished material properly copyrighted. We're only too happy to spend hundreds of dollars on a smartphone that'll be obsolete next year. ATM fees, wireless streaming fees, credit card interest, bank overdraft fees, apps....all things that we've come to accept as unavoidable expenses. BUT....when it comes to spending $35 to legally protect our own artistic creations, we'd rather not. Seriously....$35??? That's the current U.S. Library of Congress online filing rate for multiple works by a single author. To the best of my knowledge, a Library of Congress registration is the only universally recognized method for proving legal ownership of a work. There are viable legal reasons for choosing this method & I encourage you to verify that for yourselves. Here are a number of direct links you may find useful: United States Copyright Office Why Should I Register My Work? FAQ page Copyright FAQ - Electronic Copyright Office tutorial - Online Copyright Registration - Tip #5 -'s all about the vocals ! It’s common for recording songwriters/bands to underestimate the importance of the primary vocal track. Bottom line….it’s "Priority #1" and should be treated as such. Why you ask? Simple! To the ordinary listener, it’s the single most important thing. Non-musician listeners focus the majority of their attention on the vocal (singer). Sure…everything else matters! Just not as much. Common Reasons for Substandard Vocals: · Internal Band Dynamics - every member of a band wants to feel like their part is essential to the success or failure of a project. Unfortunately, nothing outranks the melody & the singer's presentation of it. Yes…a strong vocal can benefit from a great musical arrangement. But, if the vocal’s substandard, the best arrangement/performance in the world won’t save it. · When recording demos or finished material, vocals are one of the last things to be dealt with. If you’re working in a pro studio, you’re probably paying an hourly rate. If that is the case, you should budget your session time carefully. You can’t afford to blow the majority of the budget on preliminary musical tracks. When that occurs, the natural tendency is to rush the vocal recordings. I can’t tell you how many times I’ve seen friends make this mistake! Remember, if that vocal isn’t done reasonably well, everyone loses. Take whatever precautions are appropriate. When it’s all said & done, that vocal track will represent your song. Shoot for the highest quality you can reasonably achieve. Tom Hoffman Songstuff member profilehttp://www.tune-smith.com *This article is the result of a question posed on the Songstuff boards. John Moxey asked the question, these were my responses.
  6. “Too Small To Save" was written & arranged in 2008….recorded & mixed in early 2009. Those original recorded tracks were edited & remixed in 2014. That 2014 version is the used for this SBtS video. The Idea My songs typically evolve from…. - a chord progression - a riff/pattern - a section of melody - a central theme In this case, it was 2 of those elements combined. 1) A guitar progression (riff/pattern) 2) A central theme, which was also served as the title (hook) In songwriting, it’s essential for the subject matter to blend with the musical feel. In other words, one should complement the other. In my humble opinion, that is the case here. Subject Matter This particular lyric hit pretty close to home. It was loosely based on my wife’s employer, who shall remain nameless. The lyrical message was inspired-by…and based-upon changing conditions following the financial collapse of 2008. Simply put, none of those changes benefited the employees & most didn't bode too well for the financial future of the company. Much to my surprise, the company survived. The employees however, were a different story. Most of what they lost was never returned. The financial recovery that followed did little to benefit them. The title “Too Small To Save” was applicable to both employer & employee. At the time this song was written, both fit the description…seeming doomed to failure. As you may have guessed, the title was also a tongue & cheek play on that infamous 2008 headline - “Too Big To Fail”. While banks & auto manufacturers were too big to fail, small companies & employees were “Too Small To Save”. Essentially, the yin & yang of monetary policy. Structurally, the lyric is brief…with a generous dose of repetition. The message is heavily reliant on imagery & metaphors, which is not typical of my lyrics. Because the subject matter was both current & dismal, I chose an artsy lyrical format. Lyric Too small…too small to save Just another business crushed by the wave One more tiny fish…too small to save A victim…of the economy No golden parachute waits for me Almost 80 years business don’t count these days No friends in high places…too small to save Last call…for 401Ks Get ‘em while you can…they’re fadin’ away It’s closin’ time cause we’re…too small to save Copyright 2008- Tom Hoffman Song Structure Introduction / Verse-Refrain / Instrumental Verse-Refrain (guitar solo) / Bridge / Verse-Refrain / Ending Musical Fundamentals Musically, “Too Small To Save” was built around a single guitar progression. It’s the one you hear being played throughout the intro & verse-refrain sections. The song is set in the key of Aminor….BPM 100 Genre-wise, I’d have to call it blues-rock. This arrangement is guitar-based, utilizing 3 separate mono tracks. My Gibson SG was used for two of those. The 3rd was a mixture of Strat & SG…with Strat being chosen for the bridge section. Its’ single coil pickups were useful in creating thinner sounding guitar textures. - One of those 3 tracks contains intermittent lead guitar. - The other 2 are the primaries, heard throughout the song. The verse/refrain sections consist of 1 guitar playing the primary progression, while a 2nd guitar plays 3-note power chords (I-V-octave). The bridge was intended to have a unique feel, so both guitar parts change dramatically. The SG picks single notes within standard open chord forms, while the Strat strums triads (3-note chord forms…I-III-V). The core drum track was creating using a Boss DR-670 drum machine. After 13 years of recording with "real drums", I converted to the Boss unit in 2007. Being a drummer, I had mixed feelings about using synthetic drums. But the additional control, flexibility & convenience of the machine method sold me on the change. Suffice to say that recording live drums in a single-person home studio setup is a tedious process! Regardless, the marching snare used for the bridge section was an actual drum. Unfortunately, the machine decay rate makes crash cymbals sound VERY artificial. So… all crashes were overdubbed onto separate tracks, using actual cymbals. Final Production Notes The recording, editing & mixing were done on a PortaStudio 2488….a 24 track Tascam system. Performance Credits Drums, Guitars, Bass Guitar – Tom Hoffman Vocals – Tom Hoffman YouTube Video Version (*includes full song) - Tom Hoffman Songstuff member profile The Story Behind The Song
  7. “Love Will Find Me” was originally written & recorded in 1997, using a Tascam 424 analog cassette deck. Revisions were made in 2005........ - The original 4 analog tracks were transferred to an 8-track digital deck (Tascam 788, shown below). - Keyboard strings & organ were added to the arrangement. - Some of the secondary guitar work was re-recorded & the song was remixed. In 2014, some minor editing was done on the 2-track master & the ending was shortened. That final effort yielded the version you’re hearing now. In recent years, I’ve come to view all my songs as works-in-progress. “Finished” means…”Finished for now”. Truth be told, change is NOT the enemy of artistic integrity! Subject Matter This is one of my few "relationship" themed songs. It's not that I dislike the subject. Commercial music is simply overrun with it! Since life is about much than the emotional roller coaster ride of 2 star-crossed lovers, my songs tend to focus on other aspects of it. That being said, “Love Will Find Me” was an exception. The lyric is set in first person narrative, so the story’s being told by the individual experiencing the loss. Essentially, it’s a look back at his recently failed relationship…a new version of the unrequited love theme. It covers an array of emotions…. The grief-stricken pain of loving someone who doesn't love you. A fleeting glimpse of self-pity Then finally, the realization that life goes on, coupled with a belief that eventually….love will find him. Most songs of this type have a commonality. They describe a universally understood experience. You’d be hard pressed to find anyone beyond the age of puberty who hasn't dealt with similar feelings, including me. That’s why it’s such a common songwriting theme…because listeners easily identify with it. Lyric Can’t believe you’ve left me all alone All alone, no one to care Wish you’d learned to love me so I would Have someone with whom to share Why should I….even try When you’ve already said goodbye? Life goes on….so will I Someday….some way….love will find me! Tried so hard to grant your every wish Every wish was my command Thought in time you’d learn to love me too Guess you’ll never understand Wonder what….I did wrong Wanted you….for so long Maybe I….pushed too hard Just not….sure anymore Why should I….even try When you’ve already said goodbye? Life goes on….so will I Someday….some way….love will find me! *Repeat Chorus Section Copyright 1997 Song Structure Brief Introduction / Verse / Chorus / Verse / Bridge / Double Chorus / Ending & Fade Track Length - 3:05 Musical Fundamentals The song is set in D# minor. Since most of my songs aren’t relationship-based, I go the extra mile to make the few I have unique. I see little point in creating new versions of “the same old thing”. Unlike much of my material, “Love Will Find Me” was built around a syncopated chord progression…played on my Strat. The chords are all 5th & 6th string Barre forms Much of the progression is played staccato, which is why barre chords were chosen. They can be muted by simply relaxing pressure on the frets. Secondary guitar parts were done with my SG. They consist of 2-note intervals (primarily 4ths), single note patterns and licks. While the primary guitar chords are the songs’ foundation, these secondary parts were created to fill, add color & support the vocal melody. Keyboard strings & organ helped to fill out the arrangement. Since there was no secondary guitar part written for the chorus sections, something additional was needed. Both were played on a Yamaha P-80 electric piano. As was the case with all my earlier songs, live drums were used. If I do say so myself, this serves as a great example of how to get creative with a drum track! It’s syncopated, generates a unique rhythmic feel and works nicely with the other song components. Because the drums were part of my original 4 track recording, they share a single mono track with the bass guitar. Shame it had to be that way, but compromises of that sort were common back-in-the-day. Performance Credits Guitars, Bass, Drums & Keyboards – Tom Hoffman Vocals – Tom Hoffman You Tube Video Version (*includes full song) - Tom Hoffman Songstuff member profile The Story Behind The Song
  8. Brief announcement - 

    I'll be taking an extended break from Songstuff...effective immediately.

    Our changing political climate & increased demands on my time make that my best course of action.

    A few months down the road, I'll re-access the situation.


    Hopefully, some of our more experienced members will help fill the void in my absence. Members HoboSage & M57 are our resident experts on how the site should be run. Their knowledge should be an asset to anyone with questions.




    1. Show previous comments  1 more
    2. McnaughtonPark


      See you when you get back, I hope you come back ready to do some recording:rolleyes:

    3. Just1L


      Here's a cool article we did on K-SHE's 10-speedtraffic report guy Tony Roldan with a cool retrospective audio. :) 



      Hope all's going good. You can literally here the care-free days while listening. Enjoy.



    4. McnaughtonPark


      Does k-she still have those kool round stickers?  What was it?  A pig with headphones or something like that?

  9. Very nice job with the intro...welcome to the site MacKenzi Tom
  10. Little Red Riding Hood / Sam the Sham & the Pharaohs
  11. Hey and welcome Rose ! Tom
  12. No problemo !
  13. 38 Special / Wild Eyed Southern Boys
  14. Actually, I think it does Tom. Your message is clear...some things are more important than the endless search for more money...& more development. You gave specific examples of what those things are and painted a clear picture of why you feel that way Works for me! Good luck with it & thanks for asking! Tom
  15. Welcome to the site! Unfortunately, I had to remove the promotional link you posted here...sorry. ....plenty of other sections for that here. Enjoy the site! Tom
  16. Not that every hard headed woman falls into this category, but... Bitch / Rolling Stones
  17. In my mind, the most important variable is "the why". Why would you be making an album? If your primary motivation if monetary, then NO. If you gig regularly & are interested in selling merchandise at your performances, then maybe. There does seem to be a market for live merchandise offerings, but there's no guarantee that you'll end up in the black. If it represents the fulfillment of a personal goal, then maybe. The big deciding factors here important is it to you & can you afford to take a financial loss if that's the end result? If you're looking to advance your credibility as an artist, then maybe. The last time I checked, they're were a few commercial hurdles directly connected to having a physical CD for sale. Pandora is one example which comes to mind. Pandora's criteria for submission used to be having a physical CD, currently available for sale on Amazon. It's been a few years since I discovered that, so you may want to check to be sure it's current information. Overall, my personal advice is this. If you cannot afford to lose money on the project, don't consider it...period. Yeah, you might end up making more than it cost you, but the overwhelming likelihood is that you won't. At best, it's a gamble. If you can't afford to take it, don't. Good luck whatever you decide! Tom
  18. I believe you're correct. If you'd like, I can hide these last 3 comments? It's up to you. Tom
  19. ...appreciate the introduction & welcome Micky! Tom
  20. Nice job with the intro and welcome! Tom
  21. Fanfare For The Common Man / The Emerson, Lake & Palmer version
  22. No problem....big site, no hurry. Honestly, it's good to hear that we're different. We certainly try!
  23. Thanks for taking the time to introduce yourself & welcome to the site! Tom
  24. One more thing to remember...the folks who buy & listen-to this questionable music do so because they like it & wish to support it. Unlike us, they don't see it as a problem! I always try to remember what I used to tell my dad...the older we get, the less our likes & dislikes matter to anyone but ourselves. Product designers, marketing companies & creators of future content aren't concerned about our tastes. Younger demographics are the focus. Tom
  25. ...a fine example from 1968 ...the 70's gave us...and much more ...and from back in the 80's Bottom line - stuff like this has always been a dominant part of the commercial market. Unfortunately, it's cheaper & easier to produce today than it's ever been. Given that, I don't see it going away anytime soon. Personally, I don't fear for the standard of songwriting. Like most things, it simply is what it is! I find a certain amount of comfort in the fact that I could listen to nothing but great, existing music from now til the day I die...and still wouldn't hear it all. In my mind...better to be grateful for what we have, than mournful over what's to come. Tom