Donna

Recently I've learned some of the most important lessons ever in my musical life. Music Vacation About 7 days ago what began as an impromptu conversation and wish for me maybe laying down a drum track for friends' material turned into a plan for one of my songs being recorded. I wasn't entirely sure until mid-week beforehand that it would actually go down, but I began the prep early in the week anyway. Another big chunk - guitar, drums and vocals. This is an account mainly about a successful studio prep for drums. The studio I speak of is owned by Phyllis and Stefan Johnson; some time ago in the Dahlnotes blog I'd written about Phyllis, a former bandmate, who in the intervening years has become an accomplished songwriter (in addition to already having been an accomplished musician and vocalist). I may be writing a complete entry on my time with the Johnsons in Dahlnotes. Phyllis Johnson Music The song we'll call Dylan's Dream - as the lyric was based on a dream my son had. It is so new that Thorny Swale (the band I'm in) had only played it a few times. As I've been doing rhythm guitar on all my originals in rehearsal & live, I'd not given thought to drums. As it happened, my children were away for the week, so I was free for immediate prepping. I did not know my own song on drums, did not know what I "really" wanted - the particular beat nor fills nor builds. Slowing the Tempo for Studio Prep The tempo of Dylan's Dream is between metronome settings (I'm not digital folks) so I opted for the slower of the settings - and soon realized this was key to all of my drum prep. It coincided so beautifully with the bulk of my practicing this summer, as the desire to leave no stone unturned in broadening the understanding of how to swing, had me halving my speed on a regular basis. Halving (or going down a third of the speed) in my opinion has done wonders. Part of it is purely practical: I dislike changing metronome speeds and I have so many children and duties that it's calming for anything to stay at the same tempo for a prolonged period. I just...halve the speed, do the figures in triplets, double the speed, whatever is possible using the same setting. Prepping the song in the slower tempo was agonizing, but I hung in there and did my best. The result was that I was nailing (in understanding, then execution) the various song parts. How and What I Prepped In this order I discovered (and/or "wrote" but not via notation), in roughly two practice sessions: Perfect Tempo Main Beat Basic Outline (swells, builds and overall feel) Feel of the fills and figuring out what specifically could get me there (eg double stroke snare rolls, slowed drumset rolls using kick drum) The next two practice sessions I concentrated on: Creating the Fills Executing the Fills Transitions from Main Beat to Fills and back out to Main Musically Playing Song Sections All the Above at Agonizingly Slow Tempo (via metronome mic'd through the amp) As many others do, I played in the air - the song was in my head (or it wasn't because the slowed tempo invariably placed a Zepplin-like riff in my head I could not get rid of). I was getting anxious because firstly I recalled how long it can take to learn a song -- by a good drummer with their nuances. But I was writing this song! I needed more time, but didn't have it, as by the 4th practice session the road trip to Phyllis and her studio was a for sure thing. The Final Preparation The last two practice sessions: Recording via the 4-Track Listening to result then repeat recording Even if recording solid, do again -- being able to "do it again" is important Bpm up to original tempo via 4-Track Continue Learning/Remembering Song/Fills The drum prep went hand in hand with guitar, though they were separate. The bulk of time and focus was drums. The last session was a short one, I took it easy and spent most of the day relaxing or sleeping. By this time, and maybe because of the focused drum practicing I've been doing all summer which seems to carry over favorably to guitar and vox, I realized this was the most complete, focused prep I'd probably ever done...and somehow I knew exactly how and what to prep. I also realized I'd fallen short of this in the past (eg w/ Dan who I've been working with). But mostly I felt grateful for the knowledge of my abilities and the ability to create and execute a plan which worked. The day of the session I did not play at all, and only sung for about 20 minutes, about 2 hours prior to the recording. The Result Maybe we got lucky - it was a reunion, after all, of 2 very-like minded musicians, it was out in the country (blessed change) and in their good-vibed home, with their son and the whole family atmosphere. I played Phyllis' kit and had an issue with the kick pedal tension...but after the 2nd take and I wanted to try again, Stefan was listening and made a comment, but it was the way he was listening, that made me listen to him, and take it to heart. I'm not sure what decided things...I did find out then that each part of the kit took up a separate track, and there was a question of whether or not the space might be needed...yet then Phyllis listened and confirmed. It was not perfect, but "you're a human being!" It should not be THAT perfect that something's thrown out if 2 notes are a smidgen off with an otherwise great-feeling take. The more we listened to it, the more we liked it. Sadly, each fill I wanted was not realized - but what I did instead did work, and all the general things were included. But what really rammed things home for me was what Phyllis said: that out of all the drummers they've worked with, none had done what I had...that when I outlined to her the prep I was doing, she was so happy that a drummer would prepare via a click. And that a drummer followed through, in the transitions to fills and out again, in time, and especially that a drummer played the song. That a drummer would also practice a song, because previous drummers were convinced it wasn't necessary to learn material beforehand, and would instead listen a few times at the session. Phyllis further said that she had had to go back and re-do drums (and she is not a drummer) because at least she could play in the pocket (and she can - and did, I heard some of the recordings that night). "These are excellent drummers I'm talking about - excellent! Great live...but the studio?" There was nothing flowery about her praise, it was matter of fact and one peer to another. I knew I'd done right in prep, but couldn't have imagined how grateful the engineer/fellow musicians would be, the excitement with which they would now approach the work, and the trust they now placed in me. Conclusion Metronome me & Slow me...

Thanks a lot, Rob!

Hey Rob, OK, I saw the youtube. Boy, that's tempting! (I cheecked out where it's available/price). *Can this video mic also be used as a traditional recording mic?* Thanks for all the info! I'll have to scout around this subforum - I have never shot a video before (unless I'm forgetting something - tis possible). Anyway, I need new beginner instructions...I'm so curious as to how one can shoot sections (plural! - when multiple cameras are used on the spot or one camera in subsequent takes) then pick/choose footage from these sections and somehow make it into a whole. FYI, I think mainly the camera will be on a tripod or meatball-mechanics equivalent. Like for those times I've the whole place to myself and inspiration hits, or band rehearsal when obviously no one there will have an extra hand to video.

Yo, Well, I've put this off long enough... Is there an affordably priced camera who's audio is good (or decent/respectable) for recording live band or single person? I just know I'm gonna end up doing this, the video-ing aspect. How do I start? like HOWwwww As you can see, not relishing the thought of starting ground zero on yet something else. You guys know me! I'm A-OK with 4-track audio, I do not at all need the super duper since-the-90's digital perfect audio capabilities (altho...gotta be separartion of instruments somehow, cool if that has to be gotten in editing/mixing). I don't want to "have" to rely on a pre-recorded track -- I want the live thing to be enough audio-wise. (Optional do not have to read this ---> In fact, I've been interiorly mourning the absence of personality and variety of sound mixes in newer stuff. The 60's and 70's was full of them. It wasn't just the musical personality of the band, but musical personality of the SOUND. And so now I bow to ENGINEERS. I think it was THEM that done it, baby, not the producers or the final mix per se, even if Engineer did do the final mix. No, it was the beginning, the set up, their levels and colors w/ eq or lack therof, that is my hunch, I LOVE them, I miss them terribly! ----> told ya, it was truly optional reading)

Oh wow - truly you both honor me. [ I'm grateful Tom saw this entry _after_ I'd edited to add that the drumset student already knew kit before beginning instruction ] Heh.

Hey All, I've graciously been given a vehicle -- this! -- more precise for those vain musical reflections I like to write, specifically "drumming conclusions" (as the Giver, John Moxey, has called them). Songstuff has been a huge help to me. It's not everywhere where one is welcomed, accepted, helped, encouraged to become and develop. From that, I was enabled to develop an introspection. Blogging or writing ongoing posts have been a map & guide: to confer with myself so to speak, with you all, along this road of music - aye, not luxury but necessity to this musician. And now it seems at this point in the study, things learned can be passed along to others. I will try to stay on task! Meaning, to focus on percussion. This first entry is a long piece, and I don't expect that will be the norm. Gig Conclusions Latest gig a number of breakthroughs for me. Since I also play guitar/sing a few originals in the cover band I'm singing-drummer with, there are multiple layers of attn, triumph, or bum out! It happened that there were triumphs in every area. The breakthroughs (drumming) came spontaneously. They are significant for me. I drummed an entire song w/ left hand (not my dominant hand!). Song's intro & groove so nice, I spied my little shaker like a toddler grabbing that candy. Of course by the 8th bar I realized there was no way out (actually there was...I could at least throw the shaker down). I didn't want a way out. But I'd never done it before. There is video/audio of this moment (not publishable) and I was delighted by solid time, tasty fills, and that my left hand had a cool mind of its own. The second breakthrough -- due to crowd soaking up the sound and me unmiced, at some point I ditched most of the kick drum stuffing, also some of the drum gel mufflers. Ooh it sounded so nice and FAT - of course the heads were then way easier to play. So in the midst of a tune I yelled out (in time) "let me solo". I am not a soloist, I have never been so publicly per se -- my friends may have different memories in my younger drumming years, but for a long time I'd zero interest in it and the main memories are the few times I'd been compelled to "have" to solo. But this last gig I wanted to solo and did so. I enjoyed it so much that I am working on a solo. But giving myself lots of room, minimal pressure to get it done. And I am approaching it as a song, in phrases, and notes or melodic sounds from the drums themselves. When I was little, my 1st attempts at songwriting were on the drums. I tuned my toms to a chord (I think) - not knowing what a chord was. It made sense to me, and I'd forgotten how much I enjoyed those melodic notes and making musical motifs. I was about 9 years old at the time. Teaching & Practicing Conclusions I began teaching drums this year. It's beautiful. Simultaneously I've been teaching myself drums, which certainly hasn't been a norm for me in recent years due to the singer/songwriting thing, time constraints of having a family but also because I'd been able to glide along w/ a respectable drumming vocabulary. I turned to drums again this year because the repetition of "drills" calmed my mind and heart and gave me exercise. My beloved mainstay, triplets with two hands ending in kick drum is incredibly calming and invigorating at the same time. Well, my eldest began commenting ("Mom! Aren't you tired? You've been playing for over an hour straight!" He wasn't complaining, btw). These sessions became increasingly regular - re: which this same child pointed out to me that I do nothing but solo. Heh. Two results became clear: A) The lightbulb went on that I love drumming and want to keep exploring. It took quite awhile for this to manifest because the singer/songwriting thing (and recording/engineering/physical music notation plus now connecting w/ producer/studio/real life musicians and so on) was all encompassing. I was improving. Becoming aware of how I practice and figuring out ways to learn whatever skill I want has enabled me to better achieve personal drumming results and also to teach my students (while the main framework has been decades in the making). I take a rounded approach w/ the students - for example, early on I began talking to one while he played, giving direction ("line 6!") at the end of the phrase, or in playing with him (clapping, shaker, cowbell). So that we don't stay only focused on our little selves. On the other hand (there are always two), self-awareness is exactly what I want to teach. The 10 yr old student, last lesson he went through the short exercises in a row. But when it came to the long "piece" at page's end, I directed him thus: I want you to reflect here and look through this music to figure out which tempo you can maintain at the same speed, all the way through -- can you hear what's written by just looking at it? OK, now when you get to this phrase that trips you up, consider that: you set the tempo in a thoughtful way, judge your own abilities. The youngster brought tears to my eyes. He did it. And wow, what a difference. It was day 3 of quite a heat wave, it was the end of the day, it's the very boring part of summer vacation, and this child's home has been through many days of upheaval because of a flood. He pulled off a centered and authoritative piece. He was recollected and there was a grace. I couldn't praise him enough and ended the lesson by letting him choose whatever he wanted to do. The other student (his father), same thing! We work on drumset, not easy to begin w/ all those limbs (even though he did have some knowledge of the kit prior to instruction and could play certain beats). It's easier to be alive to this in teaching whether hands/ rudiments or drumkit because I am facing the same challenges, just at a different level. One thing lacking in my own formal instruction IF I'm recalling correctly: is that I was not taught to practice around something, or to break it down in specifically being aware of what exactly the problem was. Because in my experience, it is usually something small or minute. (I'm talking once past the completely beginning stage). There's no sense in focusing on whole phrases when the real obstacle is three 16th notes in the center of that phrase. The goal then becomes familiarity w/ those three notes, to play them in loop, then to work on transitioning both into, and out of, those three notes. Doing this can seem overly involved, a tangent, especially with drums, because limbs will need to be dropped out, practiced separately, and so on. Teaching myself has convinced me that practicing around something (as I refer to it) is effective. The drumkit student is responding very well to this instruction, and went away last lesson sounding almost bedrocked in something that 1/2 hour before had him paralyzed. That's what it is, when we really struggle or are obstical-ized, it's a paralysis. The mind cannot think beyond, it cannot hear, the limbs stutter or are frozen. And that's a sad, unnecessary way to leave things, my friends. To see this student calmed and happy where before a confusion had reigned, I'm left feeling grateful to have witnessed this, to have a hand in helping it come about. Final Conclusion Trust thyself.

Hi Steve! I love you! ( just seemed the thing to say )

Thorny Swale played our first gig in 2 months, tonight. I began the last set by telling the crowd we were going to do 2 original songs, dedicating one to Dylan who was in attendance, and whose cool dream I based the lyric upon. The crowd was listening to what I said, and immediately began dancing once we started. The songs went by pretty fast, but I noticed in addition to the dancers, bar patrons paying attention. I have never had that experience before with originals - and maybe not with covers, either. I felt pretty detached - was paying attention to business: playing guitar, lead singing and cueing the band. Any wonder I felt was in my head, but my heart just loved the songs, esp Dylan's. I love playing that acoustic out front and singing what is mine. I love it that even when asked, I didn't tell the guys at all what to play when first introducing the songs to them. Said, "I could, but what for? You'll know what to do..." I love their parts and what they're making the songs become. I love it that Scott can play drums and it's full sound. + We want Jeff F to stay with us. He's come the past 2 gigs, videoing in addition to tenor and singing. + Kayla, Dylan and their friend Sarah came out. That was so cool!! Kayla shot dozens of pictures, there were many very good shots. We had our best gig ever. We needed a night like tonight, it seems like due paying has been extreme. + I actually asked for a drum solo tonight, during a song, and the guys could not make out what I was saying, so I said it through the mic: Let Me Solo. I have never soloed with the band now, or the former version, never asked to, never wanted to. I'm going to have a drum solo from now on. + This was the 2nd gig playing acoustic on originals, full band. Hooked...HOOKED HOOKED HOOKED +

That's very kind of you, WBro.

Wow! That was weird. Just...healing & being, really. Making stitches one at a time, whether sewing or knitting. No machines. Praying. Using a lot of vegetation from the gardens, whether herbs for tea or cooking, lettuces, cut flowers. The fruit is doing great. I felt I was pushing a river or two and decided to stop. 15 minutes later I get a call that everyone's set to rehearse and a 6th guy to sit in. Good vibe there, we'll see. Suddenly we have a gig as well, and all this stuff is happening, but I don't feel like I am! Maybe in fact, though, I am. Gen made her 1st Communion. Huge. Beautiful day, Mother's Day it was. Getting good at flower arranging. Growing on. Wanto post pictures w/ this entry, but I don't see the browse here...and the insert image isn't working for the Facebook urls. The gallery also wouldn't let me upload - 3 x's, I'm IN. No river pushing!!

Well said.

Glad you commented, Gemini

Yah. O well.

Four. For this situation, example if I was doing guitars, two would go to mic each amp, then two for drums (one o'hd, one inside the kick).

I'm teaching two drum students (!!!). I love teaching! We've had our 2nd lesson, it's a father and son, drumset and hands respectively (for now). They know note values, have natural affinity for and will become good drummers! Get right in there and place my hands esp. on the boy's so he can feel that good wrist action. We're beginning traditional grip for both students plus reading while counting out loud. Am beginning to look into if there are others in my area wanting to learn. I've a lot of ideas and young T. is doing so well and has gone ahead by himself, I gave him the paradiddle for next time. It's exciting, he's trying to put the bass drum (R foot) in whilst he works on one sticking piece at home, and the little cat spent the whole of his fathers' lesson in another room, practicing. I think I'm twice as happy because I'm teaching both set and hands. Doooood.... ♫

Thanks Tom -- woo hoo batter steps up to the plate. Yes, the mic is always inside the kick - in fact I had to kinda nestle it inside the various wrappings (heh - what IS in there? - flannel sheets or what-not), too hot otherwise. I think the toms will cut thru w/ the new o'head placement I'm thinking on. You're right, trial & error. I appreciate the con- firmation and your support. ♫

PS -- I know the other issue/why I'm also flummoxed! The toms are cutting thru way too well. Yes...so the brightness of esp. hi-hat gone, but toms CUTTING thru (and yes I muffled but not 80's style). Overhead placement musing --- say you're not behind thee kit, but standing in front of it, looking back twd the drum throne -- what do you think, placing mic stand in front of kick, or maybe between it and floor tom, high and pointing down but kinda diagonal more toward high-hat, not in middle where racks toms are?

Hi All ~ 1st experience recording a band (actually 3rd go but like PLANNING and thinking this time. Multi-tiered process to hopefully get it right or respectable) But w/ that 2+ yr break since the 4-track was up I don't recall if/how I compensated for losing generation of drum sound. They're too buried. Next time I must play w/ more authority/presence, that will help (w/out overloading levels tho). I pulled out John's instruc. from a thread YEARS ago and tweaked it (t/y Mon Capitaine!!) 4 Tracks only available -- no offense but telling me to get a higher-track unit doesn't help (tho a prayer might) 1. Two mics for drums (tracks 1 & 2), two mics for guitars (tracks 3 & 4) 2. Pan 1 & 3 L --- Pan 2 & 4 R ---Record L busses to Track 1 and R busses to Track 2. 3. SFSG (so far so good) separation present, levels good. --- The Bounce ---- 4. Bass Track 3 -- Keys Track 4 5. Playback 1 & 2 while recording Bass & Keys to 3 and 4 --AND-- collapsing Tracks 1 & 2, onto tracks 3 & 4 a) Track 3 --- -drums -acoustic -bass Track 4 --- -drums -electric -keys Yes, NOW I see that bass would more properly be w/ electric vs acoustic...and yet that keyboard used is way bright for my liking + I'm concerned w/ an overly processed sound potential w/ the distortion FX of guitar (required for the song in question) and a "fuzziness" I couldn't get rid of in bass sound (went direct). Drum mics: one overhead - but maybe not overhead (or high) enough? Just an instinct wondering at that...more ambiance, more room for sizzle? I do most of this by instinct I think -- lol! One in the kick drum. I've learned that when no mic for the kick, forget it, might as well play tinker toy set. This result of 5 a) and is the issue and I'm certain can be improved whether engineering stage (most likely) or mixdown. I am fiddling w/ mix btw (eg boosting brighter track 1 around 6K). Sorry! Thinking out loud....I think this is the way I need to try it again: 1. so that ultimately Track 3 - drumSET - record keys before guitar and bury it's brightness somewhat -- the bounce'll also muddy it - (1st generation) acoustic 2. ultimately Track 4 - kick (+ ambient set leakage) - electric to be buried - (1st generation) bass That way there shouldn't be a possible phase cancellation either (kick and bass will be once removed therefore separately eq-ed, not eq-ed together for bounce). Tracks 1 & 2 free for vox.

Hey John, Thanks for that. I really appreciate you elaborating on the subject in general and your own challenge in particular as well as your using an example. Cannout agree more: the simple, understandable lyric is a BEAR - much more difficult and/or requiring attention and thought....crafting. I'd think this would be even harder to write such a lyric with open-ended or multiple interpretations.

Heh heh

Well, there it is! I am naturally and organically of late looking at my lyrics - or some lyrics - wondering not "SHOULD I make this more universally appealing?" but rather "HOW can I make this more universally appealing while retaining the personal meaning and lyrical style characteristic of the real writing me?" It does not freak me out, and I do not fear at all selling out. Time...that great friend of time and experience in songwriting has shown me I can be as quirky & stylistically myself as anyone. It's just not an issue! I have to laugh...this is a freeing experience. What the H was I so worried about before? Because what I'd the most experience in previously was...Everything Had To Stand As Is. I like this newer thing much better. Anyone else go through this? -D-

Just filled with gratitude for Dr. John Kaess' presence as choir director. He's such a wealth and depth for All Things Liturgical. And he's got the real fire, too. There is no one like him. I can't stop being amazed with him and amazed to be in HIS Latin Mass choir. I just love him! Yeah, we rehearsed tonight There is a tenor (I believe) head of some Schola (Gregorian Chant), which one I do not know - maybe attached to St. Augustine...but he is wonderfully accomplished and I almost wish that significant parts of the Holy Triduum were just the men chanting - because there is nothing like sung male chant. (strategically placed this eve, certain outstanding vocalists diagonal and down (I was on steps) - tenors, sopranos, doooood!!! Dr. K sang (way too little) bass this eve, great speaking voice, great singer. Drink in as much at possible at rehearsals and it's sinking in what certain notes sound like (in my head) so the likelihood of nailing them from the start getting high indeed. Singing alto is SUCH a blessing! The main obstacle presently besides seasonal allergies is forgetting that I need glasses when I read, cause it's so new...and I tend to forget to bring them. When other sections run through their parts I try to always read and sing softly...I'd hum, but this is the Latin language so every chance to mouth those syllables and vowels is important. I like sectionals -additional opportunities to read. I was also grateful this eve for having had exposure to loud music - because the group was large, the organ loud and ff at the end of the Gloria -- the Easter Gloria at that! -- well, I obey. Not everyone is used to the Cathedral Sound (as Dr. K called it). Before rehearsal I'd had mom-time waiting while a child was at an appt, so I played the axe and sang in the parking lot. It really helps...I remember Cos (Mike Costello pianist) in high school, who had a very full schedule of advanced courses + the oldest of 6 children and a job, "I practice every minute I get. If I have 15 minutes, I practice." Carpe diem, this is my road. I just love Dr. Kaess musically - I just love him and the opportunity to be under his direction and to hear him play and to try to keep up with what at times is that frantic-ness of him. His head never stops (I can tell); wealth and depth and fire. Zooooooooooooooom!

PS - I think you should look out for me again on the recording studio forum... posting mixes which I need help w/ from scratch! I have a distinct feeling this will be happening (and probably must as precursor to vid. tutorial)

Long suffering Mon Capitaine xx oo You know me...I muse awhile before hitting the trail. However: I was telling Kayla last night my exciting discovery that apparently if I'm not mistaken the 4-track and cam corder can be synched together.... which means (Lightbulb emoticon) -----> video tutorials (!) And I kinda held my head all the way back, looking upside down at the ceiling above the drums, trying to remember how Tunesmith T. Hoffman mounts his camera... But first things first - many dates wiff my manual...dates and experiments... Man, I had my synopsis (mentally) but lost it... will send when able!