Saturday, July 15, 2023

To Demo or Not to Demo

I've mentioned before the act of doing a "demo", something that apparently almost all signed bands used to do back in the day in order to present a new album to their record label.  Basically, the band would record all of the material that they had written in a simpler, cheaper manner, then present it to the label, a producer would then be hired, time would be booked in a recording studio, and then the actual album we all know and love would be recorded.  In essence, the album would be recorded twice...and this concept still puzzles me slightly.  It's hard enough to record an album once but to do it twice??

This whole topic came up via a discussion with MWP in which I initially misunderstood what he meant by the term "demo".  After thinking on it more, though, and doing a bit of investigation, I got his point although I'm still not sure that I actually agree with the whole process of recording an album twice.

And so, I stumbled upon the below this week in which the band the Connells just shared the original "demo" version of the song "Carry My Picture" alongside the album version.  I find this whole thing very interesting because apart from the obvious lyric changes for the refrain I'm not entirely sure that, as a fan, I would have minded if they had just released the original demo version on the album.  Now, I will say with a caveat that I'm only listening to this through shabby computer-y speakers and not headphones so I could be missing something very major (and that's because I can't yet put headphones back over my right ear at this point).  Here's the link if you want to check it out:  https://www.brooklynvegan.com/the-connells-releasing-ring-30th-anniversary-edition-listen-to-carry-my-picture-demo/

I've heard a few demo versions of songs over the years and I find that usually the original demo version has more spunk and life to it, mainly because it's not over produced.  Rarely do the demos suffer that much from sonic quality, though, which is what I would have originally thought.  One famous instance of demo vs. album version that I still remember is when R.E.M.'s longtime manager said that he greatly preferred the demo/"original" version of "Radio Free Europe" to the album one, and after hearing it (and not being sure if I totally agree personally), I will say that the energy level of the demo differs greatly from the version on "Murmur" so I can sort of understand where he's coming from.

What are your thoughts on this?  In this day and age, with the rise and prominence of the home based recording studio, do demos really make any sense any longer or is it just a way to either a) work on some additional albeit not completely necessary small details in the crafting of a song or b) a way for "real" recording studios, labels, etc., to make cash?

Sunday, July 9, 2023

Revisiting the "...Opsimath"

I've reached that age where I've thought about doing a task enough that I actually think that I've done it.  For example, I've in my head written an entry in this blog called "Whatever Happened to that '...Opsimath' album anyway?" about 10 times but apparently I've never actually done it.  Hmph.  Even weirder, I actually physically wrote the below over a year ago and somehow never actually published it to the old blog.  It's almost like the spirit of the "Opsimath" issues are still alive!  Frightening.

Anyhow, I decided to re-open the casket, not knowing what kind of cobwebs and other critters I would encounter.  Yes, it's the gravesite known as "Theories for the Opsimath", my so-called triumphant solo album that was started in 2001 and nearly was the death of me, taking all the way until 2010 when I finally said "...to hell with it".  I clocked enough hours on that album, from writing to tracking to attempting to mix and fix, probably enough for about 7 albums.  I mean, the amount of time that I spent on that project was beyond words and completely ridiculous.  And what did I get?  Utter disappointment on all fronts, basically a product that was unlistenable.  After much trying, I finally couldn't take it anymore and decided to just throw it aside and possibly revisit it once my skills, ear, and knowledge were a bit better, not to mention my interest and stamina rejuvenated.  It ended up being the correct choice although I know I let a ton of people down in doing so, etc., but I really wish I had put it aside earlier so that I didn't waste an entire decade of my life.

So, here's the story of that album, being told in print for the very first time.  It all started like this: my first real recorded album was "Lost Weekend", simply put just an experiment in playing instrumental, something I had never done.  Up until that point, I had never played a lead in my life on guitar - no joke.  I also had no real clue how to record an album, just my 2 ears and a lifetime of listening to music.  That album was done ultimately on 2 Alesis ADAT recorders running S-VHS digital tapes tracked through a fairly cheap 24 channel Behringer analog mixing board.  I recorded most of it direct through a guitar unit called the Digitech 2112 of which I still have, and it doesn't sound that realistic, to be frank.  Recording direct in this nature is a bit on the silly side anyway, I think, and I simply didn't have the gear to record amps and such back then, let alone know how to do it in an efficient way.  So, "Lost Weekend" was quite an experiment all the way around that kind of worked on some level and took 3 years to complete.  To my complete and total surprise, people liked it.  I was beyond filled with anxiety when I self released it because I thought it was incredibly poorly done but apparently no one really noticed that or focused on it.  There was even a time where I seriously thought about throwing the entire album in the waste bin, but again, much to my shock, people seemed to like it.  Go figure.

Hot off the heels of that project, I decided it was time to get back to the "real" me, which at that time was vocal work.  I therefore set off on a brand new musical journey of 10 new songs coupled with 2 older favorites.  I wrote for about a year and then started recording, this time wanting to NOT record direct and instead mic amps and such.  That's when the issues began.

Like I said, I had no idea how to record an amp.  Looking back on it now, I can't help but shake my head at some of my errors.  It should be mentioned that, although the internet was out there, it wasn't filled with info like today, nor was I really used to to seeking info out in that manner.  This left me pretty much on my own, puzzled, scratching my head, and so on.  I would spend an entire afternoon recording guitars and then listen to it back and not understand why it sounded awful.  In my head, the logical solution was that I did something wrong and therefore I should re-record it.  And so, I did...again...and again...and again...and again...  This is what I mean by I basically spent enough recording time to do about 7 albums.

Take this mentality and times it by multiple years.  That's right, not days or months but years, simply recording pieces over and over until they sounded semi decent/acceptable (notice I didn't say "good").  Then, there was the piece about actually putting the album together in a nice cohesive way, another skill I really hadn't yet gotten my head around, but hell did I learn it the very hard way.  Again, more years go by.

Also, did I mention that I early on made the decision not to use traditional drums?  Yes, another great decision (sarcasm, of course).  More years added on, trying to make that overly ambitious idea work on some level.  Initially, I thought the whole album would be semi acoustic based with maybe some light world beat sounding drums.  I had a Roland electronic hand drum unit at the time that I thought would do the trick...until I realized I'm not trained at all as a hand drummer.  I fought with this concept for quite awhile until I finally gave up, only leaving scant traces of those parts on the album.  I instead decided to use traditional drum machines instead but since many of the tracks were already in motion, this meant trying to sync a drum machine track to already recorded songs.  Now, in the modern world, this isn't a terribly awful task but when you're basically working with tape, this is very difficult to accomplish and often a bit messy.  Now, I say "tape" but it was really a digital recorder; however, it didn't have any of the visual screens or capabilities so it might as well have been tape since it pretty much had the same limitations.  And so, much more time was spent on weird little drum machine tracks that didn't really sound optimal.

Finally, after years of fighting with the recording, I thought I had it done.  I knew it was a bit clunky, mind you, but I thought I had it enough.  This started the endless mixing phase.  I was using the Mackie D8b system which I opted for back in 2001 since it more closely resembled a traditional mixing board, etc., since the idea of doing something in a computer completely scared the hell out of me at the time (yet another wrong decision, for had I opted for Pro Tools via a computer instead, I think I would have been happier).  Also, the Mackie D8b/MDR system cost a small fortune for someone who was making almost no money at all.  I worked almost the entire decade just to pay the dumb thing off, and then, when I sold it, I think I got a whole $500 for it.  Yes, pure pain.

Back to mixing...  Well, the D8b had very little power since it was developed around 2000, and now it was 2008-ish.  It was like using an old Windows machine from the 90's ten years later.  Automation was beyond ridiculous since half the time the machine didn't respond to the commands in a timely manner due to lack of memory, which completely defeats the purpose of automation during mixing.  I encountered all kinds of issue, including terrible plugins (again, the machine had no real power behind it) and so on.  I also didn't have good monitors to mix by and so it became a complete and total nightmare of at least another 2 years, and we're talking me fiddling and mixing every weekend for countless hours.

My frustration level was through the roof.  I had so many mix CD's lying around that I could cover my living room floor with them (I have a picture of them somewhere - it's absurd).  And still, it didn't sound that great.

Finally, I got it as good as I thought I could and was willing to live with it.  And then, the nail in the coffin - sibilance.  It wasn't that I didn't know that there was as sibilance issue with my singing previously but I didn't realize just how bad it actually was.  After careful evaluation and soul searching, I realized that it was unlivable and completely ruined the recording.  The only way to fix this sort of issue in a mix is via automation, which as I said didn't work well anyway, or using a de-esser which had an effect of completely removing too much of the "s" sound, leaving me sounding like someone with a bad lisp.  That's when I caved.

I made one more attempt a year later, giving the entire album to someone who had Pro Tools (it was now around 2010) to see if he could do any magic.  He worked on it for about 6 months and I paid him a fee to do so but that didn't work either.  It seemed the only real solution was to completely re-record the vocals, and it took me forever the first time to record the vocals since my voice had already started going out in the early 2000's.  The task looked impossible and, by this time, my spirit had simply given out.

And so, the album got shelved, smartly.  I instead began working on a Robyn Hitchcock cover song album purposely that I called "It's Raining Elvis Fish!" with one goal in mind...to try and figure out at least half of what I did wrong on TFTO and then correct my techniques.  It sort of helped but not really, hence that one's been in the remix stage for ages as well.  From there, my band Defrost Nixon was already in motion and we started on that recording of which I'm actually mixing right now (again, over a decade later).

Let's just say that it's been a tough and very long road.  If I could do it all over again, I'd certainly do it differently.  This is partly why the "I Miss You Most at Nighttime" album was such a big deal for me since it was the first release I've ever done that, well, actually sounds decent AND was put together on a normal time frame.

So, that's the story of "Theories for the Opsimath" and why it was never released, and that's just the highlights, actually.  Living through it was a total nightmare and incredibly defeating to my confidence and spirit.  It's amazing that I even found the strength to try again, to be blunt.  And yet, here I am.  I guess that says something about me.

Will TFTO ever be released?  An excellent question, and actually, yes, I'm hoping to revisit that album, possibly in the next 2 years.  There are many questions attached to this idea, however, and it requires some real soul searching.  My entire recording process now is so different from back then that I fear that I'd start rerecording every little piece of the album, and I'm not sure that it's actually worth that amount of time.  So, a) what exactly do you rerecord, b) how much do you do, c) how much time do you want to spend on it, and d) what do you think the final output will be?  These are the questions that I need to answer internally.  I will say, though, that I recently decided to take a peek under the TFTO gravestone and see just what the heck is living under there, and start the gears turning slightly.  Obviously, the vocals are the number one priority and need to be recorded in their entirety so that's probably where I'm going to start (some are actually already in motion), but I'm also thinking that I'm going to want to redo some of the electric guitars as well.  The question is what exactly should be considered sacred and untouchable (if anything) on this album and what isn't?  Tough questions.

In listening to some of the songs, I was amazed at how young my voice sounded on these old recordings.  Wow.  I wish I still had that sound but alas I don't.  One thing is for sure...the title is fairly ironic since it does look like I have become the opsimath after all.  Sigh.

Blog Intro

Welcome!  Um, that is, if you somehow stumbled and found yourself at this blog.  After writing under one blog header for over a decade, and having the purpose of that blog change many times over that period of time, I finally realized that I really need to break these blogs out into separate pages.  The reality of the situation is that some people have zero interest in reading about my recording pursuits and others have zero interest in reading about weird stories that happen to me, and so on.

"Supernova Hodgepodge" is the title of my recording and mixing diary and it will contain nothing but posts in that category.  If you're looking for opinions and/or weird reflections of life, please go to "Observations of a Modern Day Idiot" which is also on Blogger.

Lastly, it should be noted that the title "Supernova Hodgepodge" comes from one of the early "albums" that I penned in my teenage years, something only in theory and has never been recorded, nor would anyone ever really want to hear it since it's incredibly juvenile.  A song here and there has actually come to fruition from this early period but most of those songs have been chalked up to "...that's how I learned to write songs..." material.  I'm sure every songwriter has a bunch of these.

Lastly, I'm thinking about moving over older posts from "Observations..." so don't be surprised it they magically disappear on one site and then reappear on the other.

Monday, July 3, 2023

The 4th

I had a great past two days of mixing, however.  I'm actually getting to the point that I sort of both enjoy and mildly look forward to doing it.  I mean, wow, what a change!  I've turned my attention fully to the "Effects of Connection" EP since that one is fairly close to done and then also finally the Defrost Nixon album.  Here and there, I also dabble in "Lost Weekend" territory.  I had to put "Mirror Land" aside yet again since I have these vocal issues to work out on "Only With You" and, well, I can't yet wear headphones so I can't do any recording right now.

I think I may finally have "Across the Desert" working.  I believe one of the real issues was that I was doing everything I could to control the high "ding, ding, ding" of the drum machine track and thus did a bunch of weird EQ cuts over a year ago.  After diving deeper into this one yesterday, I played around with that and lessened some of my cuts, and the results seem much more in line with what I was hoping for.  It's amazing how much a mix suffers when you pull out that sort of high end, and I guess we're just going to have to live with the "ding, ding, ding".  It's actually not as major on this track as it is on "Interstate Blind", which is really the song that I thought originally didn't live up to my expectations due to the repetitive drum machine sound.  I've done a bunch of very strange EQ cuts on that one as well but I haven't listened to it in awhile so I'm not sure where that one's at.  Maybe today I'll dust it off and tinker away.

I was super stoked about the Defrost Nixon mixes last night.  One of them I hadn't even begun mixing yet, really, and just dived right in yesterday.  On first cut, I got a pretty damn strong mix that only needs minor changes.  Wow.  The other two tracks sound pretty damn good as well, and I dare say "Scapegoat" may in fact be done.  I fought with the drums on this song for so long...I mean, again, wow.  Once I got the drum in place (and replaced), what a world of difference.  These three songs, all of which are Cameron's, all sound really strong to me so major pat on my own back.  I'd even dare say that they really rock.

I started tinkering with 2-3 other songs, all of which all have various glaring issues.  The bad thing and the beauty of mixing the Defrost Nixon songs and "Lost Weekend" is that these two albums pretty much cover a myriad amount of unique mixing issues.  In other words, I should come out the other end pretty well versed in things, that is, if I come out the other end :s  I'm actually feeling incredibly more confident, though, and I know I'll figure something out.