Conference napalm::guitar

    I 'think' I'm gonna have 2 entries of the same tune.  I used a blues
    backing tape to provide my drums, bass and rythm guitar, played my
    strat thru a 35w Dean Markley, and taped the whole mess on a cheap boom
    box.  This is a low budget, no frills demo of my blooz style.  One take
    is a cleaner lower energy version (Coop's fav) and the other was done
    when I had an extra quarter in me.  It was recorded in my basement
    which actually added a little color to the tone.  I had my amp pointed
    away from the boom box mic and it was cranked up for sustain and a
    little clipping.  The tune is a slow blooz in G ala Stormy
    Monday-ish type progression.  I just do my thing...a combo of major and
    minor pentatonics, a few double stops, plenty of missed notes and
    botched runs.....enjoy, or not!
                                   
    Steev

    
    I hope no one minds, but I'm going to post my liner notes now,
    since I'm outta here in a coupla daze.  I'm assuming this tune
    will make it to GN_V....doesn't sound like we're too cramped 
    for space just yet....;-)
    
    
    guy

Liner notes for "Sit Back and Chill":
--------------------------------------

 - How I got the idea for the song:

       Basically, I wanted a blues tune of sorts, but with a few twists
       to it to make it stand out a bit.  I was thinking about how blues
       is really three different keys, and thought perhaps I could find
       some chords that explored each of those three keys a little more,
       but still tie it back to a blues foundation.  I'm not sure I 
       achieved what I first had in mind, but at least the basic idea
       (which was more theory oriented) got me to come up with something
       that I liked, seemed "fresh" to me, etc.  The chord progression
       took about 30 minutes to work out.  At that point I had no idea
       what the melody would be, but decided to begin recording anyway.

First track:

       I got Eric (my brother) to program a simple click track on the 
       DR-550.  I recorded the click track for the desired length of time.
       I recorded the rhythm guitar first.  I used a Guild S300-AD
       through a Peavey Studio Pro 112 on the clean channel.  I
       turned up nice and loud and sat outside the studio, listening
       to the signal that came from a Radio Shack PZM, some awful
       Peavey mike, into my 4-track (Tascam Porta-05), and then 
       to my ears via headphones.  It took me about 4 or 5 takes
       and there were still some mistakes.  I try not to get too
       perfectionist about these things or I'd just hang it up and
       get nothing done.

Second track:

       Next was bass.  I plugged the old Fender Musicmaster into a
       Yamaha B100III bass amp, cranked that up, and recorded the
       same way as guitar, except I didn't use the PZM, and I think
       I used an old, noisy Yamaha stomp box compressor between the
       mike and the 4-track.  Another 4 or 5 takes later I had a bass
       line....with even more mistakes than the the guitar had.  


Third track:

       Drums.  Eric played drums for a while and I worked with mike 
       placement, using both the PZM and the PV, some compression,
       and some reverb.  Considering that the studio is not finished
       and is really a box made of sheetrock with a lot of insulation 
       behind it, the drum sound isn't bad.  I was expecting the cym-
       bals to melt my eardrums when I put the headphones on, but it
       didn't sound too bad, considering.  I did wish the low end was
       a little more clearly defined.  Anyway, I fed the headphones 
       into the studio and Eric put them on.  He practiced to my tracks 
       about 1� times.  Then I told him I was going to record his next
       practice run - just so I could get an idea of how the mix would
       be.  I set the 4-track to record and went to get a beer.  When
       I got back Eric said he thought it was good enough.  I listened
       and agreed.  His tempo was excellent compared to past projects.

Ping-pong:

       At this point I mixed the first three tracks onto the remaining
       track (formerly the click track).

Track four:

       Vocals.  Eric and I worked together brainstorming lyrics.  Our
       basic theme was aimlessness, death, and the Tarot card known as
       "The Hanged Man".  Yes, you heard that right.  Neither of us take
       these things too seriously, and the lyrics are definately tongue-
       in-cheek.  I wrote 95% of the lyrics, and Eric mostly argued/
       joked with me, or suggested changes/alternatives.  I sang pos-
       sible melody lines as we wrote the first couple of verses, but
       for the most part, I was left to work out exact phrasing on the 
       fly, this being a low-budget production and all.....the vocals
       took 2 or 3 takes.  Lots of warts in there, but what the heck.
       I really was pleased with where the vocals work out in the mix,
       the reverb seemed to work well, etc.

Track five:

       Guitar solos.  The intro solo was a Taco-caster into a Studio Pro
       112 on the clean channel.  I used the PV mike, into the stomp-box
       compressor, then into the 4-track, which had reverb (Alesis) in
       the effects loop.  I believe I used the middle and neck pickups.
       One take.

       The middle solo was the Guild S300-AD set to the neck pickup and
       with a clean sound.  Same recording setup.  2 takes.

       The last solo was the Fajita-caster through an Ibanez Tube Screamer
       then into the PV, with a bit of its Saturation distortion thrown in
       for overkill.  I probably used the neck pickup, but I'm not sure.
       2 or 3 takes.

Conclusion:

       I had no idea what this song was going to be until I was done.  If
       I were to go back and redo it, I would put in some more rhythmic
       changes, with guitar, bass, and drums all hitting some punches at
       the same time to break up the monotony.  Somehow, though, I think
       it is a basically good idea, and somehow manages to keep moving 
       along without lumbering too badly.

       Special thanks go to my brother for getting me out of bed and off
       my butt to do this, and for not laughing while I drank beer in my 
       jammies with a bad case of "bed-head".  

       The whole project started at 11am or so and was finished at about
       10pm, whereupon I got dressed and went to see a band. ;-)

Note:
-----
This was my first attempt at recording in the studio that my brother and 
I built in my parent's basement.  All in all it was a lot easier to get
good mixes because I was able to get my recording levels up where they 
belong.  Now if I can just get some egg-carton foam on the walls....



Song # 2:  "Intermission"
-------------------------

    I don't know if this song will make it to the final tape, but I 
    threw it in anyway.  It's basically just me jamming away to a 
    bass & drum line that my brother recorded.  I don't remember 
    what I used besides the Taco-caster.....hope y'all like this 
    stuff.



regards,


Guy Best

    Sent in 2 things:
    
    1: 1st movement of a "Tonadilla" for 2 guitars by Joaquin Rodrigo.
       This was recorded live at a recital. You'll hear the music falling
       on the floor at one of the page turns. The other guitarist's name
       is Steve Marini. The parts are closely intertwined and switch back
       and forth a lot so I can't say much about who's who.
    
    2: Arrangement of "My Funny Valentine" for solo electric. I transcribed
       this from a Johnny Smith recording. Played on my Strat (with way too
       light treble strings for this music) Starts in Cm and ends in Eb
       maj. The low E string is tuned down to Eb.
    
    Hope you enjoy it,
    Bob 
       

Liner notes for the St. Amand stuff:

Tell Me : Straight ahead rocker, dbii does the solo (love that quadraverb) 

You Be mine: Another rocker with dbii on the solo, the solo is two tracks, cut
	and pieced together. The middle section is both tracks.

World's going crazy: Less rocker and more something, dbii does the slide, andy
	does the solo

All songs were recorded on my 688 with the following generic process. We mixed
15 drum mikes down to stereo on the 688 via a biamp 16 channel mixer. Then we 
dubbed the  bass and rhythms etc. on. On Tell me and You be mine, we dumped the 
rhythm section to DAT and then dumped it back to 2 channels on the 688 and added 
leads and vocals. World's going crazy was one of those things where zits and all 
the performance on the roughs was such that there was major resistance to doing 
anything but dubbing the backup vocals and that one "special effect" at the end.
for all tunes the bass was recorded direct into the 688 with some compression.

Overall I was surprised at how well these came out, I expected a minor 
improvement overall from what we did with "Hold on" (last tape) but we felt
the improvement was major. WTOS (on of Maine's largest FM stations) is currently
working with a DAT of these and they MAY give them some airplay, at the least
they'll be used for ads for an "unplugged" gig we're doing for them, but so far
they've waxed very enthusiastic about using the material in rotation. (fingers
crossed).


Equipment used:

tascam 688 (Sony UX-PRO tape)
lots of sure SM57Beta's and SM58's
a sennhieser of some sort on the snare
AKG D320 mike
Quadraverb
Midiverb II (2 of these)
Art multiverb alpha
Symetrix 525 comp/limiter
BB? sonic maximizer (822)
Teac DA-P20 DAT
H&K red box's for direct guitars (very little mike sounds on the guitars, we 
	turned the mikes off eventually)
kitty/midi rack
Marshall of some sort (50W single twelve)
stienberger GM4T (dbii)
les paul (old '50's with soapbars...Andy)
Fender jazz bass with emg's
Fender P-bass with emg's
cymbols by sabian
drums by remo

    My two submissions are:

    "Listen Here" by the great jazz saxophonist Eddie Harris, although my
    version owes more to the way organist Brian Auger recorded it.

    "Roadhouse", yeah, I know, this song was on my *last* submission.  I
    wasn't happy with that version so when I got my new four track, I redid
    it at a faster tempo and with less processing on the vocals.  I also
    had someone else play the lead for me 8^)  8^); luckily, Devadrip
    Curlers Antenna was playing in town and offered to help me out.

    Tech details (for the anal types):
    Deck: Tascam 424
    Mike: EV 757
    FX: Yamaha SPX50, Boss CH-1 
    Drums: my buddy Roland played them
    Keys: Ensoniq SQ-80
    Bass: Steinberger L2
    Bass Amp: AMP 420BH with a Dan Eaton 1-12 cab
    Guitar: Danelectro Silvertone
    Guitar Amp: Scholz Sustainor into an Ampeg Gemini 20 combo
    Except the "Roadhouse" solos: some kind of old Strat into a Super Champ
    
    							Brian

    Oh yea, I didn't mention anything about equipment.
    
    The classical duet is, of course, just classical guitars. Was recorded
    with 2 mikes about 10 feet out and above us. Worked well.
    
   For  "My Funny Valentine" it's the Deluxe Strat Plus. I used 2 tracks
    of the 4 track. 1 was the amp miked, the 2nd was the guitar plugged
    right into the tape recorder; then mixed them together. No effects. 
    
    Bob
    

>No effects. 
 
    Mind if we add some reverb?  
    ;^)                                                           

    Eye-yi-yi!!
    
    I was *just* thinking about that....
    
    :-)
    
    I've got nice little lexicon here....
    :-)
    
    

    Just a wafer thin sliver of reverb.... ;-)

	Once again, I used backing tapes for my submissions.  All three
	are instrumentals in varying degrees of rockin' out.

	I used my Peavey Odyssey into a rackmount SansAmp into a Carvin
	Stereo powered mixer.  Effects were from a Quadraverb.  There's 
	too much chorus in there but I didn't realize it until later.  
	It's funny what the ears hear live as opposed to what goes onto
	that damn tape!  

	The first tune is just a basic "Bad to the Bone" riff.  It's by
	far the most aggressive playing of the three.  This one has the
	most overdrive and I also used a wah-wah on it.  Do me a favor
	and crank the hell out of it!  ;^)

	The second one is vaguely similar to Beck's "Freeway Jam" but
	in a I-IV-V progression.  It's in G7-C7-D7 but each one gets
	prefaced by the chord a whole-step below.  So it's F-G7, and
	Bb-C7, and C-D7.  I tried to explore those movements as opposed
	to just riffing in I-IV-V.  Bob Conroy said it reminded him of
	Carlton and "Hill St Blues".  I thanked him very much...

	The third tune is a ballad in Am.  It goes to Dm, Em, and F in
	various ways so I used the Aeolian mode most of the time.  This
	song has the cleanest tone of the three and it unfortunately
	also sounds the most "out of tune" because of the Chorus.

	I included a few more tunes on my tape.  Coop, feel free to let
	any of the CXO folks listen to it if they'd like.  

	Thanks for doing this, Coop.  

	Tom

     Band: The Ripping Nylons
     Song: Island You    (or as sometimes written Island-U)
       TT: 4:30? 

 Recorded: 31-MAY-92

Musicians:          Guitar, Vocals: Rob Hansen
                             Drums: Richie Puleo
                       Bass & solo: John D'Errico


Equipment used: 

    Recording: Tascam 246 4-Tk.
               Tascam Porta-1 4-Tk.
               Tascam M-30 Mixing board
               Rocktron 360 Stereo/Hush/Limiter.
               3-Alesis Midiverb-II's
               Alesis XTic Reverb
               A ton of SM-57's

        Drums: Ludwig 5-piece

       Guitar: Fender Squire Strat
               Small tube amp W/6L6's of unknown origin. Probably a Silvertone.
               Old Peavey folded horn 4x12 using only 2x12 with ripped speakers.
               DOD FX-55 distortion
               DOD FX-65 Stereo Chorus using only one side.

         Bass: Washburn XS-4. PJ configuration.
               SWR SM-400 head
               SWR 4x10 Goliath cab
               Ernie Ball stereo volume pedal
               Rocktron 360 Stereo/Hush/Limit
               Alesis Midiverb-II


Island You
==========

   This was the product of ~12-days worth of work. This was over a period of
3-months from start to finish - on weekends.

   Rob originally came up with the main theme, verse & ~1/2 the lyrics. The 
rest of the lyrics were finished up later. It was agreed that we would have
a bass solo instead of a normal guitar solo in this tune.

   For the recording process, we miked all the instruments. I din't feel it
was necessary to go direct on the bass because I liked the voicing that my 
setup had.

   The first things to get recorded were the drums, guitar, & bass - Each 
having thier own tracks. The drums were miked using SM-57's through the
M-30 mixing board. We used three delay units on the fx-loops on the board.
One Midiverb for the snare, One midiverb for the mounted toms, and the XTic
reverb for the kick.

   The guitar was miked at angle to one speaker using SM-57 ~perpendicular 
to cone. The guitar set up was: 

                          Squire -->FX-55-->1/2 FX-65-->Amp.

   The bass was miked similar to the guitar amp. The setup was:

      Washburn ---->  Left --------> Midiverb ------v
                |   Rocktron 360                  St.Vol. --> SM-400/Goliath
                |__>  Right ------------------------^


   The Drums, Guitar, & Bass first went to the 246; each having thier
own tracks. The drums had two. We took the tape and bounced it from the
Porta-1 to the 246 - Down to 1-track. The drums receiving an extra layer
of reverb.

   I recorded the bass solo on track-3 using some moderate compression &
limiting.  The main vocal track was recorded dry on track-2, then the 
harmony on track-4.

   For final mixdown: The vocals were slightly right & left. We used two
cascaded Midiverbs in stereo - One with a slight "double" feeding the next
one with with some reverb. (FX-channel instert).

   For the bass solo, We inserted some compression and limiting with the 
'360 - This was to get the extra headroom. This fed the last Midiverb with 
a stereo chorus patch.



That's all the techno-babble for now...


/G.O. Vanni

    Here's the liner notes for my Guitarnotes Vol. V submission.

    There are two songs I've chosen to include.  One was from a tape done
    on my old 4-track about a year and a half ago and one is a newer song
    done in my current 8-track home studio.  I'd originally wanted to get
    the older song on Guitarnotes IV, but there wasn't enough room on the
    tape for it.

    The new song is "The Other One" and features Jason Herbel (non-Deccie)
    on drums and lead vocal, Sam Lambert on bass, and myself on guitar.
    Jason wrote the words and I wrote the chords.

    All tracks were done on a Fostex Model 80 8track recorder mixed through
    an AHB board.  We recorded Jason's vocal using a Beyer M69 mike.  If
    anyone's really interested in all the gross technical details of the
    other equipment used and what I did with it, send mail and I'll
    describe it in detail (I took notes on everything).  Doesn't seem
    worthwhile wasting everyone's time putting it in here when there may
    not even be anyone interested...

    As far as the guitar stuff, I played my Les Paul Deluxe through my
    Marshall JCM900 into a 4x12 (with 30wt Celestion speakers) which I
    miked with an SM57.  Sam played his Ibanez 5 string direct into the
    board using a direct box and a little EQ and compression.

    -------------------

    The older song is called "Dream" and Jason also sings the lead on this
    one.  He wrote the words and we wrote the music together.  He
    programmed my Korg DDD-5 drum machine to resemble what he really
    played.  I played all the guitars and bass.  It was recorded on a
    Yamaha MT-44 4-track and mixed on a little Peavey mixer.

    The rhythm part is my Ibanez RG560 into the JCM900, using an ART SGE
    for some delay, into a 1x10 speaker cab from a Marshall Microstack,
    which was miked with an EV N/D-257 in a closet.  For the solo, I used
    my Les Paul into that same rig (different closet :-)).

    --------------------

    General comments:  I redid the final mix of "Dream" on the 8track using
    tracks I dumped from the 4track.  Unfortunately, most of the mix was
    already done to two the 4-track and I made some mistakes when I did
    that and not only does the sound quality suffer, but the mix isn't
    exactly what I'd want if I were to do it now and it got a lot of hiss
    on it somewhere along the line.  I was using a bunch of cheap equipment
    at the time, so it could have come from just about anywhere.  In any
    case, I did what I could to the other mix with a pair of 31 bands.  The
    only thing that wasn't mixed in on this was the guitar solo. There's
    also an annoying glitch in it that I never noticed on the original
    tape, like the 4track decided to turn itself off at some point while I
    was dumping the tracks.  Oh well...  I like the song, so I thought it
    would be interesting to have on the compilation even if the recording
    isn't the best it could be today.

    There were things on the mix of "The Other One" that I wasn't
    completely happy with either, but I ran out of time on getting this
    done and this is what I ended up with.  Not perfect, but it documents a
    point in time for both our performance and my recording skill, so it's
    valid from that perspective.

    I hope you all enjoy the songs.  I'll appreciate hearing any
    constuctive feedback you can offer!
    
    Greg

    Disregard .1, unless Coop's playing trix on me, my submission was
    withdrawn when the deadline was ignored........
    
    dawg

    I have two submissions on this one.
    
    Thats All - HardBall (Will Alexander on bass!!)
    
    A ballad written by myself (music), and Tom Howard (lyrics).  Tom and 
    I were in a band called HardBall.  We performed this tune many times
    out at gigs. 
    
    We originally recorded it at Americus Audio (Tascam 48, 8 track).
    I'd since bought some studio gear and snarfed the master tape, and
    overdubbed lots of stuff.  My studio is based around a Tascam TSR-8
    and a Fostex 812 mixer.  I use Lexicon, Alesis, DBX, AMR and Roland 
    outboard gear.
    
    The guitar parts are doubled, and recorded direct from a Mesa/Boogie 
    TriAxis ("speaker emulator outputs") - Thanks to Yamaha and UA for
    the feedback (speakers).
    
    This tune marks a special guest appearance from Will Alexander on the
    Bass Guitar...  The original bass track SUCKED, so Will volunteered to 
    record some for me.  Will plays a neck-thru Alembic custom.  We
    recorded him via an Ampeg SVT, direct box and a DBX compressor.
    
    This tune was very much a learning experience for me in my studio.
    I'd like to hear what you think of the production!
    
    
    Devils Games - HardBall
    
    Another HardBall tune written by me and Tom.  This one was done at the 
    same session at Americus Audio.  I would've DEFINATELY liked to have
    re-recorded some of the guitar tracks on this tune, and re-produced it
    on my own gear, BUT...  The original engineer spilled Grand Marnier all
    over the master, so this is a copy of the original effort... :-(
    
    Basically this one was recorded live.  Toms guitar was an Ibanez RG565,
    thru a Roland GP16/MosValve and Sam Lamberts 2x12 PV Scorpion loaded
    cabs (well, they weren't Sams then, but...).  My guitar was a Ibanez
    USA Custom thru my ADA Mp1/Metaltronix SP1000 rig, anna 4x12 Celestion
    cab...  the Bass was a Ibanez RG something thru a Randall preamp.
    Drums were Yamaha Pro Series.  Both guitars were miked via Beyer M69's
    and the drums were miked via various AT and Beyer mikes.
    
    jc
                                                      

    Well, I have crow to eat here...
    
    I listened to the tape I gave Jeff to put on here at his house the
    night before I left on vacation a couple of weeks ago and found that my
    nifty nearfield monitors didn't reproduce much of the massive bass that
    was apparently on there.  Since I was in a hurry when I did it, I
    didn't have time to really check it on a decent stereo (basically
    'cause I don't have one set up).  It sounded fine on my NS10s and my
    Walkman, neither of which reproduce that low bass which is total mush
    on it.
    
    So, expect my submission to sound basically like crap (and not just
    because of my playing)...  ;^(  
    
    Please turn the bass on your stereo down for these two tracks and let
    it give you an idea of the kind of material we're doing and try to
    ignore the horrible quality of the recording.  My apologies, if I could
    have remixed it in time, I would have.  I'm pretty sure what it is that
    I screwed up on it, but it's too late now.
    
    Greg

    It ain't that bad dood !!  I've listened a BUNCH of times!!
    
    jc

    It sucked hard, man.  I heard it and I know what it's *supposed* to
    sound like!
    
    Greg

    Chill out Greg, this is classic "you're your own worst critic" in
    recording syndrome.
    
    What seems like unacceptable flaws to you go totally unnoticed to
    others.

    RE: db
    Yep.  
    
    Greg-dood, my stereo is bass heavy anyway...
    
    First mark of a good producer is when to say when.
    :-)
    
    jc

   That's okay, Greg.  They'll just get to hear my magnificent bass playing
   that much better!  :-) :-) :-) :-)

   -- Sam

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    re: db
    
    Trust me, you *will* notice.  Sounds like it's got a blanket over it, a
    really thick one.  Oh well, as I said, too late now.
    
    Greg

    Dood - Trust me, you ARE suffering from the legendary 
    'producers syndrome'...  Also known as "I'll keep plugging
    on this until it's perfect (which it NEVER is)....
    
    :-)

so aside from Coop and Greg who has heard the tape????


dbii

    My wife, my band and two golden retrievers.  
    
    :-)
    
    I don't even think Greg has heard it yet, but he will tonight,
    cuz I'm hand delivering him Tom Gallos copy.  :-)
    
    jc

    
    	Is it going out by Pony Express??
    
    	;^)
    

    I haven't heard the tape yet, but I have read the J-card  8^)
    
    BTW, the J-card printed a bit too big on my LPS20...had to shave the
    edges down to make it fit into a box.
    
    Nit nit nit.
    
    						Brian

    See, my copier has a variable reduction to it.  I copied the one I
    printed and reduced it by 8%.
    
    :-)
    

    Pony Express?!  You mean there are alternatives now in the West?!

>so aside from Coop and Greg who has heard the tape????
 
    I haven't even heard it all yet, just my submission and yours (dbII). 
    I do have Tom Gallo's copy of it that I'll give a listen to before I
    send it on to him though.