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Tag: Recording

article 2019-04-29 124625_14.html

June 15, 2005
In the recording studio in Miami to continue working on tracks for the new albums with the guys. still working on two albums at once. The official new one, now being called ‘all your heroes always become villains,’ and ‘Girls.’ About twenty-five songs in all. we are completing drums and bass and my rhythm guitars. Then the files will be copied to DVDs to give to Rockaway and  Vancouver and they will be free to add as many guitar and keyboard tracks as they want to in their spare time at their home studios or wherever they are in the world. the way we are doing it now is everyone is free to go crazy and lay down as much as they want to however they want to. they will layer the shit out of the tracks with ideas. They will send the new DVDs to me. I will listen and make notes. Then the new new DVDs will be sent to Fred at the dungeon to edit and choose  the tracks that he likes out of everything they laid down. I will begin completing my lyrics for the songs and fleshing out all of the different vocal parts I want to add. I will then fly back down here to work out the vocals with trophy wife and zeke who will sing backups with me and the other guys and we will work in zekes studio on vocals because he is great at tracking vocals. And then those new dvds go back to Fred to clean up more and edit more and begin mixing. Then the new edited DVDs will go out to Kamran in San fran and pouchon in New York to grab bits and pieces that they like and start fucking with the sound of everything that has been laid down. Then back to Fred to mix some more. We have never recorded this way before but it is not only possible but preferable now in this new age of recording technology. A very free and creative approach to creating music. very different than the ‘five guys in a garage’ approach we took for nothing is cohesive. eventually someone will be chosen to mix it all together and make finished product out of it. the tracks will then fly to G2 in Chile to chill with for a few weeks to begin designing artwork ideas for the CD, and then onto someone else in a different city to master and then a different city to manufacture. Eventually the distributor in Colorado gets the finished cds in big crates at their warehouse and then begins shipping them all over the country to stores and the Internet to sell. This is the way music is being created and sold in the year 2005. for now I can chill and just wait to hear what the other guys lay down.

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Uncategorized Labels: in the recording studio, making music, Recording, transcendence diaries, vocals, writing songs

Dear Music Industry

September 22, 2003

—–Original Message—–
>From: the Poet [mailto:thepoet@xxxxx.com]
>Sent: Monday, September 22, 2003 4:49 PM
>To: xxxxx@transcendence.com
>Subject: diary
>
>So here we are, in the vastness of Cyberspace.  This note, from 
>Transcendent drummer extraordinaire, The Poet, is for my fellow Transcenders, whether in the 
>band instrumentally or just spiritually.
>
>I first came upon Transcendence through my friend Matt Lapland, an 
>engineer at the Dungeon studios.  Our band at the time was essentially 
>inactive, so I
>jumped at the chance to “play a few gigs for our band” when Fishy asked me to.  I met the guys, and they all seemed nice.
>
>That was about to be boring.  Blah blah.  I did play a few gigs with 
>the band, they were cool, I wish I would have played better, shit in my 
>personal life got really heavy this summer, I wrote and produced a 
>movie, went broke,
>and left town.
>Now that the summary of my time in Transcendence is out of the way,
>let’s
>have fun, but be serious.
>First, stream of consciousness word associations with all the
>Transcendence
>members:
>
>The Piano man– good, serious, Spanish, busy,
>Father Bloopy– quiet, funny, looks like my friend Nick, elastic
>Vancouver– nice, everywhere, playing all the time, hair everywhere
>The Ambassador, better known as Fishy —sexual, uninhibited, confident, idealist
>
>That was next to pointless, but hopefully some small truths were 
>revealed.
>
>So I was listening to the cd of some of the rough cuts of new 
>Transcendence songs that I played on.  And I’m listening to it, and 
>then it hits me– coax.  That is the word.  COAX.  The way I played on 
>some of this stuff. It
>was unlike how I’d ever played.  Partially because the bands I played in
>have been nothing like Transcendence musically, but partially because 
>everyone in the band CARED so much about what I was playing, as much as 
>what they were playing.  And we tried it, and I did my thing, just the 
>normal Poet thing, and sometimes, it was like, “No, not quite, that thing is fine, the Poet thing, but let’s push the thing,” and we did and it came 
>out to be
>some really beautiful stuff.  It was COAXED.  Not forced.  Just took a
>bit
>of PRODDING.  I can’t lie, the stuff I played with Transcendence was
>less
>than perfect.  It all happened so fast.  As soon as I was discovering
>this
>new angle, getting over this new hurdle, it was on record and finished
>and
>shit got heavy in my personal life and I produced a movie and went broke
>and
>moved away– all before my feet even hit the ground on the other side of
>that hurdle.
>But nonetheless, the whole Transcendence experience, particularly the 
>recording of the upcoming, yet to be titled, yet to be finished album, 
>was amazing.  That’s where it really started for me.  Rehearsals 6:03 
>to 9 on
>Tuesdays at Fishy’s were fine, because I was learning the songs and
>learning
>the guys’ playing  and their vibe and all that stuff, but it was in
>Vancouver’s
>studio, with the Chicken Kitchen orders, and the beating the shit out of
>the
>drums because you can’t get the part, and the get there at 7 and leave
>five
>or six or seven hours later, that’s where it happened for me as far as
>really being in the band.  And it was all so heavy, because we were
>making
>this music off the cuff, and making it so quickly and passionately.  I
>wish I
>could have sunk even deeper into it.  But circumstances you know.
>Circumstances dictate.
>
>So I’m here, in St. Louis, and I throw in the Transcendence rough cuts 
>with me and the guys on them, and I am blasting it in my car, and I am 
>loving it.
>   I am loving the sound of a RECORDED COAXING coming out of the drums,
>and
>Fishy’s galvanized, laser beam voice and Vancouver treating the guitar part like
>he’s
>Jackson Pollack tossing paint all over a wall size canvas, and Bloopy
>laying
>low but stealing the show, because you can’t hold a good man down, and
>you
>can’t make Bloopy play the same thing two bars in a row, because if you did
>it
>would be a waste because he can play it four different versions of just
>right.  And I’m loving it.
>these guys are geniuses. I will miss playing with them…
>Well, Transcenders, it’s been a pleasure sharing some of my experience 
>from the band with you.  Let love rule.  Peace.
>The Poet

  

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A private little world for me… a private little world for you. The online journals and musings of singer-songwriter author and activist Ed Hale. The Transcendence Diaries have been posting regularly online since 2001. Comments are always welcomed. And so are YOU.

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