So here we are approaching the end of 2012 and it’s once again that time of year for resolutions.  Like just about everyone I know, I have the same kinds of resolutions: eat healthier; work out more; be a “better” person.  But seeing as I’m a musician, I thought I would share my musical resolutions, or better yet, goals for 2013.  So here we go…

1. Practice. Not only practice more, but more consistently and with greater focus and intent.  Practice is a hurdle for any working musician, but without it you won’t be working for long.

2. Related to #1, practice all of the things that make me a stronger player.  In particular, I want to work on balancing out picked notes with slurs, so that my playing is more fluid.

3. Singing. When singing harmony with Sixteen Different Minds, I’d like to be able to consistently sing something approaching a known, recognizable interval.  There’s nothing wrong with micro-tonal singing, except when it’s unintended!

4. Memorize 20-30 more Celtic/Irish tunes on the mandolin so I can sit in on a jam session at the Dora Keogh.

Of course, I also have more directed career goals. I’d like to record one or two more records this year. And gig more. And I have some tech goals like working on my own custom synth/sample patches for Logic and Omnisphere. And updating the hardware in my studio… Lots of things to shoot for in 2013 — it’s going to be a great year!

NecessityWhen I started writing for my seventh release Necessity I didn’t, like I never do, have a clear idea of where the record would end up — didn’t know what songs would be on the record, didn’t think the album would feature the electric guitar and certainly didn’t anticipate the overall vibe of the album.  But in retrospect, it all seems very obvious.

A few years ago I started going back to my “old” way of writing.  For the most part, I now write everything down on paper.  I have a sketch book (one of those little Moleskine manuscript paper books) that I write down all kinds of ideas — chord progressions, melodies, licks, etc.  I had been writing directly in the computer, but going back to writing on paper just seems to work better for me right now.  A little while ago, I also started documenting ideas into a portable recorder (a Zoom H2N).  So between the manuscript paper and the recorder, I feel I’ve streamlined my writing process.  I know this may not seem like big deal, but this “new” way of working really has helped me to be more creative.

For Necessity, I also changed how I record.  I suppose my current approach is a little (or a lot) more traditional, but it feels very freeing to me.  If you think of 70’s style recording (write a song, record bed tracks, then overdubs, then leads, then mix and finally master) that’s how Necessity was made.

So here was the basic workflow for the record.  After I wrote the tunes, I created bed track templates in Logic Pro 9.  Essentially, I did mockups of the songs using loops from EZdrummer and wrote rough basslines using Spectrasonics Trilian.  Sonya (Mitlewski) played all of the keys with piano/Rhodes/Wurlitzer sounds coming from Modartt Pianoteq Play and pads from Spectrasonics Omnisphere.  I recorded my rhythm guitars using my Seagull Artist Studio CW into two mics and my Godin Freeway SA into a Line 6 HD300.

I then bounced stereo stems of the bed tracks as: drums, bass and harmony (keys and rhythm guitars).  Those stems, along with charts, were sent off to Dave Patel (drums) and Henrik Bridger (bass).  Dave and Henrik then replaced the MIDI loops/parts with their original parts in their respective studios (Dave’s studio is called DaWG Studios and Henrik’s studio is called Château Juliet) and sent their parts back to me.

After I had all of the bed tracks done, I recorded my leads, which were all recorded with my Godin Freeway SA into a Line 6 HD300.  The outputs of the HD300 went into an Apogee Duet and were recorded in Logic.  One of the reasons the album is called Necessity is that I basically HAD to record leads directly.  Right across the street from me there are three 30-50 storey condos being built.  It’s non-stop noise.  Recording the electric directly eliminated any noise “concerns”.  That said, I’m truly happy that I used the electric (rather than an acoustic) for this record!  I think there’s a saying about necessity…

One other recording “change” with Necessity is that I went back to bouncing individual tracks down as audio files.  For instance, all of the MIDI keys were bounced as audio.  When it came time to mix, everything was an audio file. I’m not sure how that affected the sound or feel of the record, but it helped me to focus and continually move forward.  And finally, I mastered the album in iZotope Ozone 5.

So that’s the somewhat techy description of the making of Necessity!  For those who want even MORE tech, check out the list of gear/plugins I used below.

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Apple MacBook – 2.16 GHz Intel Core 2 Duo | 4 GB 667 MHz DDR2 SDRAM

Logic Pro 9

Apogee Duet

Yamaha HS80Ms

Godin Freeway SA

Seagull Artist Studio CW

Line 6 POD HD300

M-Audio Axiom 49

Modartt Pianoteq Play

Spectrasonics Omnisphere

PSP Audioware VintageWarmer, oldTimer, Xenon, EQs, PSP84

Sonimus Satson, SonEQ

TC Electronics M30 Reverb

iZotope Ozone 5

If you lurk on various music tech forums like I do, it’s pretty hard to miss all of the talk regarding USB and FireWire audio interfaces. The general consensus seems to be that for audio, USB is vastly inferior to FireWire — that you’ll get far less performance out of a USB device than you will out of a FireWire one. Well, I’m a hands on guy, so I wanted to test this out for myself. This clearly is not an exhaustive, definitive test, but honestly, I was surprised by the results.

Here’s the gear I used for the test:

  • 17″ MacBook Pro (2.4 GHz Intel Core 2 Duo/ 2GB 667 MHz DDR2 SDRAM)
  • Logic 8.0.2
  • Apogee Duet (FireWire)
  • Edirol UA-4FX (USB)
  • Edirol UA-1EX (USB)

All of the “stress” tests were done at a 128 sample I/O buffer setting. I could have bumped up the buffer, but I work at 128 and that seems like a “real world” test. So here’s the lowdown:

  • 1,280 simultaneous notes using the Basic Decay 1 patch (EXS24)
  • 255 mono 16bit/44.1 khz off of the internal drive on the MacBook Pro. (I’m sure I could have done more, but I didn’t have 255 stereo 24 bit files handy…)
  • 15 Space Designer stereo 3 sec reverbs on inserts for a single audio track (16 bit/44.1 khz)
  • 47 tracks of audio (16 bit/44.1 khz) with a 3 sec Space Designer reverb inserted on each track
  • Playback of Apple demo (Shiny Toy Guns) roughly 1/3 of CPU meter (audio + video)

I had the exact same results from both Roland interfaces and from the Apogee Duet. Not only was there zero performance difference in terms of maximum number of notes, max plugins, etc, I found there was no difference in the response/latency of Guitar Amp Pro (a guitar amp modeller included in Logic). I’m not a great keyboardist, but the keys and drum samples I played seemed equally tight through USB and FireWire.

Again, this obviously wasn’t a comprehensive test.  For instance, it’s possible that there’s a differential in performance between USB and FireWire on older computers. It would have been nice to have had a number of different computers to test, but that will have to wait for another day. For newer computers though, my take is: If you’re recording, mixing and/or playing in the box, either FireWire or USB will work just fine.