Lost geniuses

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brooks.gifA few months back, blurry-eyed from trying to write eight (good) songs in a week, I found myself blindly searching google for, things.   Ideas, images, anything to get an inspiration for a lyric or twelve.  I’m a ‘reactive writer.’    For me, the hardest part of writing a song is writing the first few lines.   After I have something to sing, the rest just pours out… years of practice have taught me to guide the process, but I admit there’s a whole lot of “holding on for dear life” involved.

Trying something new, I started searching google for combinations of words I was interested in writing about, trying to steal a spark.  Somehow doing that, I  stumbled in to Project Gutenberg, and fell upon the writings of Charles S. Brooks.  I honestly could not tell you how I got there.    Serendipity, I guess…

http://www.gutenberg.org/files/20095/20095-h/20095-h.htm

Somewhere in the middle of this essay, I started reading.   I don’t know how many people have read this since it was published in 1915.   I’m sure it’s tailed off significantly over the years.  It’s in the Public Domain now, which is good for a songwriter (yay theft!), and perhaps the ideal fate for something that should become immortal.

Honestly, this is genius work.  And it’s forgotten, or at least mostly forgotten.   As a creator of something that I think has lasting value, it’s humbling and grounding to think that there’s a very good chance that every piece of music I write will be lost to history.   Or maybe someone will stumble upon my music, late at night, decades from now, and raise a toast to my cleverness?!

brooks-ship.gifAt this minute there is a black book that looks down upon me like a crow. It is “Crime and Punishment.” I read it once when I was ill, and I nearly died of it. I confess that after a very little acquaintance with such books I am tempted to sequester them on a top shelf somewhere, beyond reach of tiptoe, where they may brood upon their banishment and rail against the world.

Right now, if I dared, I would climb to the roof again, and I would sit with my feet over the edge and crane forward and do crazy things just because I could. Then maybe my neighbors would mistake the point of my philosophy and lock me up; would sympathize with my fancies as did Sir Toby and Maria with Malvolio. If one is to escape bread and water in the basement, one’s opinions on such slight things as garters and roofs must be kept dark. Be a freethinker, if you will, on the devil, the deep sea, and the sunrise, but repress yourself in the trifles.

L-C-R panning, with bleed

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REDD.37 Mixing ConsoleOne little thing I noticed a little while back. When studying some of my favorite records from the 60s and 70s, I’d marvel at how well they pull off hard L-C-R panning, without making my ears twitch while listening on headphones.    Hard L-C-R panning, or “assignment”, was practically the only possibility on older consoles such as the REDD.47 and REDD.51 of Beatles/EMI Abbey Road fame.

These days, with in-the-box, DAW mixing engines, and all modern consoles, mono sources can be panned to any position in the stereo field.   But perhaps they shouldn’t.   We have a long history of great recorded music that features hard panning, and it sounds fantastic. It simplifies mixing, and renders obvious any arrangement problems that might be masked by mashing tracks together.

One of the secrets to making hard panning work is mic bleed. Just a bit of bleed makes it sound natural… wide, but natural.  I.e, if you record two guitars live, and hard pan them, you will get a bit of each guitar in the other’s mic.  That is “bleed.”

Unfortunately, you don’t always have bleed to make things sound natural. If you record two “paired” tracks separately that you want to hard pan, consider crossing their reverb sends. This works great for two acoustic guitars, for instance. Left guitar, send to a verb panned hard right. Right guitar, send to the same verb panned hard left. Balance levels to taste, then bask in your cleverness.

If you are mixing digitally/ITB, with no tape or console crosstalk, and everything you are mixing was tracked separately or is an arranged track (midi/samplers/etc.), the complete separation can sound painfully artificial. Since you’re going to hell anyway, you might as well make the best record you can… so cross pan your reverb sends, and create some fake bleed along with everything else.

Works for me at least.

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The songwriting secrets of the Beatles

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They don’t teach you this stuff in music school.  You learn it “on the playground,” so to speak.    Someone you know shows you a few chords, and teaches you the wicked A -> Amaj7 to A7 chromatic dropdown that is the secret to a half dozen George Harrison songs.  Or you’re rocking away in E and someone throws in a C major/G, and you can’t believe how good it sounds.  Hey, isn’t that the hook in Lithium?

All the little tricks of pop/rock music theory are yours for the taking, in Alan Pollack’s analyses of every song in the Beatles canon.  What a piece of work.. 10 years or so of study.

I think I’ve learned more about songwriting, particularly harmonic and melodic development and arrangement techniques, from his work than any other reference. I go back to this again and again… if I could buy it in print, I would, in a second. 

But I can’t, and you can’t either.    You can only read it for free.

A few of my favorites…

http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/aditl.shtml
http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/dp.shtml

And the main index…

http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-alphabet.shtml

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Secret weapons: soundfonts

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Scattered around my audio production drives, I have hundreds, perhaps thousands of free soundfonts, acquired in an addictive frenzy from 2003-2006.    Eventually I stopped looking for new soundfonts, because I had invested in better commercial libraries.

A few soundfonts, however, have stood the test of time…. these are ones I return to for one reason or another.    

FARFISA ORGAN
This is an electric organ… a cheap, trashy home transistor thing.   Sometimes it’s just the ticket.

Rhodes VS Extreme
This rhodes sample set has a unique mellow tone that I haven’t found anywhere else.   The samples are from a Rhodes MKI 73 Stage Piano. 

FLUID Release 3 GM
When you absolutely need a glockenspiel, or some tubular bells, or a wood block… or a gong… or an 808 kick, or well, anything.. you’ll find it here.  These samples aren’t going to floor you with their quality, but they are surprisingly useful in a mix, like the on-board sounds on an old Roland sampler.

Zvon Prepared Rhodes
There’s really nothing like this… it’s based on John Cage’s experiment where he muddled with the inner workings of a piano to create new sounds and percussive noises.  You have to hear this to believe it… Zvon recreated Cage’s work on a Fender Rhodes, and created a soundfont.  The light version is basically free (it’s only $2).    The full version is $20. 
http://www.lesproductionszvon.com/zvon_PR.htm

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