Notes From GA RG OT


It's an engineering technique that I've never used and I'm going to overdo it on my next album. On everything. I feel like an idiot because I've known about it for so long but didn't understand how it related to what I do. Now I see that, as a home recordist, it's a luxury I should have been utilizing all along.

I feel confident about the guitars on this next record, I'm just worried about the drums, vocals and monitoring issues.

I have a large room to work in but it's carpeted with a low, drop ceiling, flourescent lights. A small, generic office. Terrible for drums. Awful for monitoring. It's what I have.

I haven't played drums in years so to say I'm rusty is an understatement. In addition I want to use double kick on every song. I've never played double kick in my life.

I want to use another side of my voice that I explored briefly as a teenager. But I have no idea how it sounds. This will take some practice but I've decided to leave vocals and words until the very end.

Lyrically and conceptually I'm focused. I know what I want to write about and what the theme of the record is.

I have a clear idea of the artwork and I should probably start taking pictures and painting now. I know what color combinations I want to stay within. I know how I want to present the record.

I know how I want to mix it, what template I can apply to each song. I know who I want to master the final recording. I know what the focus is for every second of every song. I know what tricks I will do to shift focus throughout the songs. I even figured out what software to track into and what software to mix out of.

The songs are 80% written. There are some grey areas that will tighten up as the project progresses.

I know what ambient recordings and movie samples to layer in, I've been compiling stuff for months. I know what secrets to place throughout the recording. I'm hoping I will be the only person who can decode them.

I have no idea what label will put it out. I have no budget. I'm doing everything myself, on my own dime.


Unfortunately a shitty drum sound, played with Meg White skill, will destroy the album. If the vocals aren't working, that will kill it as well. If it sounds great on my speakers and really bad everywhere else, well what good is that?

The problems areas are huge and gaping. Everything around it is infinite. But if I can't resolve the problems I'll pull the plug on the whole thing. Without a second thought.

There is too much bad music in the world, I can't contribute anymore. On the hipster circuit I've met so many pretty boys and girls that had no talent and no ideas, but they looked good on stage (I'm thinking about specific interactions I had in the past that came up again recently). Especially in NY and LA, as you'd expect. But its as bad if not worse in these small midwestern scenes where they are revered. People that confuse modeling with music. The connection is forgivable but the career similarities stop where art begins.

There I said it. Now back to workee so I can buy myself a nice big casket!


ha la weiro said...

Casket nothing-have someone throw your carcass to the wolves.

Pulentboy said...

David: thanks for sharing some insights on the way you work on your records. If you have problems with a bad sounding room because it is to small, you could try some "do it yourself" acoustic treatment to attenuate the resonances and flat your room's response. It could really improve the quality of your drum recordings since they depends on the space where they are recorded. Here's some info about it:


I really like the way your drums sounds on your last two records, an open and natural sound specially on "insomnia song". If you need a hand i would be glad to help you. See ya