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I thought this was going to be about the town that hosted the now busted Latter Day Saints compound. I can't comment on the music because I can't listen on this workstation but the lyrics do seem to have that interesting combination of story, mystery and figurative language that is intriguing. Do you want to help us out? Why did you pick the title?

Hi Joe,

Mostly it's the old Cadillac he's been driving around through the wastelands...but it also hints at the mythical Eldorado that he imagines now that his world has morphed into the complete opposite.

At least, that's what my 22-year-old mind thought. Now I just enjoy the ride.

Give the guy a few tracks to mess with and he turns into a MONSTER you just starting using Qbase?...what the heck did you do...take the accelarted course...you picked it up fast...I am using Audacity but it don't sound like this...maybe cause I can't play all those instraments like you...good job!!

Well if your pizzas are half as good as your music then I'm on my way to get one.

Mark, Today is my birthday and the only thing 22 about me is my hope!. I really enjoyed the ride on this song (I can listen here at home). It has a lot of interesting vibes in it. It kind of had a Hotel California intro so you had me hooked pretty fast. The chorus melody is really good.

It sounds like you have a few more "toys". Tell us how you put this together. Are you doing all the parts?

I like the last man on Earth POV- it works even if you don't explicitly say it. I think I would enjoy being the last man on Earth for about 2 weeks until I got lonely.

It sounds great, Lyle. Love the additions!

Scott

Joe, you'll always be 22. And then some.

Okay this might be long...read at your own risk. Ted, this one's for you too!

Yes, I wrote this back then...maybe younger, sometime in college. Nothing changed in the song except I used to have a weird, slow opening, sort of an oddball, folky chant with different chords and melody, and these lyrics:

God of the Sun, what have we done?
God of the Moon, teach me the tune
God of the Land, turned into sand
God of the Wind, let it begin...

...and it would whip into the song as it is here. Only I used to play it solo on an acoustic, and it was called "After the Winds". And no werewolf. I remember when writing it that I wanted to have a lot of unexpected changes and surprises...like the opening starts with a G chord...so it's in G, right?...but it resolves down to a C and grooves there for a bit before the singing starts, so it's in C, right?...but then it flips down to A instead, when I start singing...and then all the lines of the verses are different, they meander around instead of repeating parallel lines. Kind of like some loner in a car who doesn't know where to go. It was really fun to write. (And it's actually in the key of E. )

So, how did I record it? I have a pretty simple set-up: Cubase, a firewire audio interface (Presonus Firebox), a cheap pre-amp to warm up the mic signal (Presonus TubePRE), and a mic (Shure SM-58), an acoustic guitar, an electric, a bass, a digital piano. There are lots of built in effects on any program like Cubase (or ProTools, or Sonar, or Logic, or even Audacity). Now, I've been chomping at the bit for 30 years to have this sort of recording tool at my disposal. It never existed when I first wanted to record multiple tracks--that used to mean a recording studio at an hourly rate. But today? All the tracks I want, and every piece of it can be tweaked, faded, twisted, copied or erased...all for about $240.

So I just built it from scratch. First I decided on a tempo and recorded a click track. It's a loud beeping signal you can hear while you play, but you mute it or erase it later. Then I played an acoustic track. Then another one to make it sound fuller, and panned them left and right on the stereo spectrum. Then I sang the main vocal, but used two different tracks for verses and chorus...that way I could change the sound on them in different ways later, for contrast. I sang the verses first, then I came back and sang the lift and the chorus...different registers, and it was easier not having to switch back and forth from mellow to loud voice.

Then the harmonies. That crazy "aaah" sound is just normal singing in three-part harmony. But when I adjusted the sound on those three tracks, I pulled up a six-fader EQ plug-in, and brought the low end faders down to nothing, and boosted the high end way up, so it sounds like its coming out of a little tin box, or transistor radio. This is also what a "high pass filter" does. (It ended up sounding a lot like the back-up singing on "Octopus's Garden" only without the bubbles. ) I sang the chorus twice on two different tracks...that double-tracked sound gives your voice an extra resonance, the same effect a 12-string guitar has compared to a 6-string. Many tracks on those voices.

What else. I tracked a lot of different acoustic and 12-string guitar, and played some normally, and others were played higher up with a capo. That "wall of acoustics" is a sound I really like to play with...The Traveling Wilburys did it best.

I added the bass and learned a new way to do it quickly. I play the part until I screw up. Then I add a new track and start just before I screwed up...the first one gets faded out while the second one gets faded in---seamless. And when I screw up again, I continue on the first track again. I'm not Sub. I know he'd play the whole thing through come hell or high water, flawlessly. Yikes...not me.

I played the one-handed piano thump for about 10 seconds...then I just copied and pasted it a few times to fill it out. Cheap tricks!



Googled some free sound effects...a werewolf howl, some wind.

The very last thing I added was drums. When I worked with tape, I used to have to always do that first. It bugged me, having to program stupid drum beats when I felt like playing some music. Now I can do that left-brain stuff while I mix. I used my old Boss Dr. Rhythm drum machine, about 6" x 8", a little box from the mid-80's. Can't wait to graduate to GOOD drum sounds soon.

All the rest was fussing about with levels, EQ, reverb, all that...noise.

As far as imagining all this beforehand? I sort of knew where I wanted to go...always wanted to hear certain harmonies and full sound. But I never know exactly how it's going to be, so the end result is just as new to me as it is to a new listener. It really fascinates me, and I probably play it too much in the car. But I can't help it...I'm the grown-up version of the kid who played with two cassette players and tried to harmonize with himself on "Hey Jude"...and now I finally have the REAL TOYS I always wanted. So I will probably end up over-producing a few things, just because it's really fun and rewarding.

Anyway, that's my How To. The harder thing is to write the songs.

great tune. has a very "classic" feel. the bass guiatr work is very nice. like the background vocals , they really add to the song.

Thanks Mark. That is what I was hoping you would tell us. Qbase is what Mike Dunbar used at Pinevest last summer to record and edit the JPF demo derby. I have access to Protools and Adobe Audition at work but have barely scratched the surface on either.

I knew I heard a Beatles influence in there but I couldn't put my finger on it.
I am impressed. You have created quite an interesting piece- on a lot of levels. I'll be listening again.

TED - Hope that long post answered your question. But even though I got Cubase not long ago, I've been recording and THINKING about recording for years.

PAULSC - Welcome to JPF! Thanks for the kind words...and never worry about mentioning the negatives either. Here we get pretty comfortable with calling out what might need a change, or what doesn't work for some. That's where the best changes come from. I'll see you around.

JOE - I have a friend who just got a ProTools rig, and I've been getting a sense of how that one is laid out too. If yours came with that plug-in called Amplitube...I'm telling you, that is a Very Cool Tool. Anything you can conceive can be heard, and without too much fiddling around...once you learn the program. It's worth scratching. Thanks Joe, really appreciate that you liked it.

-Mark

Mark...thanks...

the first one gets faded out while the second one gets faded in---seamless. And when I screw up again, I continue on the first track again.

then I just copied and pasted it a few times to fill it out. Cheap tricks!

This is the stuff that would help me...record what I can til I flub up...then cut paste...just can't yet figure out how to do that...so I end up playing the guitar and vocal together then do several traks of harmonies to give it some sonics and fill it up a bit...anyway thank you for sharing how that stuff is done...it looks like I have a lot a learnin...but what the heck else do I have to do?!!

Hi Ted...but beware of cutting and pasting. You might hear a jarring difference or a pop or click. Instead, highlight a section of your track that you know you can play about the same...a measure or two. Then select "Fade Out"...I think you use Audacity and that does have that effect. Fade it out before it gets to the mistake, and delete what is left over. On the other track, start playing a little while before that fade out. After you record it, highlight that same area on the new track and select "Fade In", then delete the stuff you played before that. If you've selected the same area on both tracks, the volume will stay consistent as one fades down and the other fades up, and if you're playing it the same way, there shouldn't be a noticeable difference. Make sure the two tracks are in the same spot on the stereo mix (center, left, right, whatever).

There is also a Crossfade function that does this, but I can't explain how that works yet.

Hope that helps! -mk

Mark,

Just took another listen. I still says it is one cool song! I see me listening to this one a regular basis. Best of luck with it.

Al

Thanks Mark...Question...how come I'm no longer getting emails saying a watched topic has replied...I have to go back and find my posts

Hey Mark not only a cool song but a cool explanation of some of your techniques. A lot of folk can learn from it. Good job buddy.

Unfortunately, about that..."I know nothing!"

Mark,

Thanks for the description on how you put the whole song together, that was interesting to read.

The song has come along nicely -- pretty cool with all those parts in there. There is a little bit of a volume drop-out at ~1:55 - 2:00 that you might want to look at.

Very well done.

Kevin

Hi Mark

What so great about this is it's so bizarre in a way and yet so simple, simply bizzare
No but really it is just wild and VERY creative, really enjoyed the production as well as the melody, feel & lyric. Very retro could have been done in the 60's and you just dug it up

Your showing more & more depth and musicalness all the time. Great!!! Work!

Hey, sorry I haven't answered these last posts!

Al - Return listens are the best compliment...much appreciated, and so glad you like it.

Big Jim - Hope that explanation did someone some good...I'm still in learning mode too.

Kevin - I never stopped thinking about your first mention of that volume drop-out. At first I wanted to see if an autoharp could make a cool effect...but the stupid thing won't stay in tune. Last night I finally laid down a lead solo on that spot...so, since you like wailing guitar leads, maybe this will work for you!

Mike Caro - Bizarre it is, and now you are truly beginning to see the real me: simply bizarre! And proud to be that way! Like I've said before, your thumbs up have extra meaning to me...truly appreciate your listening. And please never hold back on the negatives...I want to learn production.

So, hopefully this is done...it has been remixed again, and now has a quick and raunchy electric solo after the first chorus. I want to try this one on OurStage and don't know if it should be Rock or Indie Rock. Any last minute mix advice or category suggestions would be appreciated.

Thanks everyone for all the nice posts! -Mark

It is just a pity there is no classic rock category. There are SO MANY mis-categorized songs I do not think it matters, your song is a winner whatever.

Mark,

I've been away from the board for several weeks so I missed the earlier versions.... What a terrific piece in all ways. The production is amazing and you do some pretty nifty stuff with the effects. It all fits together well. It almost has a spooky feel to it...of course, the end of the world is pretty spooky.

Good song Mark and the production is very good for being home studio. If you put this on an album I'm not sure you'd want the "help me Rhondas" in there IMO. Although their clever it seems like they dilutes the uniqueness of your creation a bit. Anyway minor nit.

I love songs like this that tell a story and create a world of their own. Could be a cult classic.

Pete

Mark,

Well, I have listened 5 or 6 times and enjoy it more and more each time. You have done a masterful job of mastering! GREAT production and delivery.

If it were me, I'd go Indie Rock because it isn't mainstream by today's definition. But, whatever genre is most appropriate, it should be at the top of th elist. Best of luck with this. It's great! And all of that with no farting!

Al

Classic rock...I won't be surprised if that becomes a category someday. They introduce new ones often.

Thanks, Clint! Great to see you back. How's the John Henry project going?

Good to see you Pete! Point taken...truth is, I was more worried about Brian Wilson's lawyer. Of course, if I never sell anything, I'll never need to worry. Really glad you like it. Thanks! -Mark

Indie Rock it is. I was hemming and hawing over that choice, so you just made it for me. Thanks again for all the support, Al!

-Mark

Oh, but who says there was no farting involved...?

Mark,

Damn! The hazzards of assumption!

Al

Mark: I listened to the new version. I am going to say that to my alleged mind, this has got to be the best song on this board I have ever heard.......................ever. I can;t come up with anything I have heard here that comes close in terms of its emotional content and how it it whips my head back and forth and conjers(sp) up memories of me in my teen years and the feeling I get of flying down the highway. Instant time travel for me. Holy s__t!! You win hands down with this one.

Paul

Holy Hannah, Paul... Man, you make me feel like the Pope.

(Hey, free hook there, folks...)

Part of me is thrilled to read that, part shakes its head and says No Way, and another part feels a little queasy...because the next song will be measured by the same yardstick...

Either way, I'm honored that you feel that way, and I truly appreciate it. Glad I could make you young again...Eldorado and the Fountain of Youth.

Thanks, Paul. -Mark

You make me feel like Poping,
I wanna Pope the night away....

Man, that was awesome, just soo much to listen to.

Pope as a verb!

Thanks Louis...and so much to deal with--I'm glad it's done. That was something like 30 tracks--the mixing made my head spin. Next one is going to have a lot less!

Mark: Listening again today. It stills sounds great. Guess I better stop pounding on my work desk in time with the song. Boss may get upset.

Regards...Paul

this is great, just great, finally listened on good speakers. maybe an artifact of soundclick compression but there's a good amount of sibilance and pop on things like 'f' sounds..otherwise great song and great mix.

..ant

Damn Mark
This is really good. All the different instruments come in at just the right time.

LOL Thanks Paul.

No that's not SoundClick compression, that's just my recording ignorance. I tried the de-esser on that vocal, but it took too much away and made it muddy. I decided to let it be up close and sloppy-sharp like that, because I don't know how to fix it properly yet.

Thanks, ant!

Thanks Bill. Should I try to shop this one in Nashville? LOL

Just had to get a listen to it once more just to see if I was getting tired of it. I wasn't. My favorite of yours

Regards...Paul

Love it Mark. Reminds me of a cross between Elvis Costello and The Kinks. Liked the twelve string in there two. I play a Rickenbacker 360/12 and love the electric twelve string jangly sound.

Steve Biederman (aka. Little Stevie B.)

Paul Wentworth raises the dead! ...thread, that is. Thanks Paul.

Steve, every time I see your name, I stare at that Fireglo Rick in your avatar with longing. I'm a huge Rickenbacker fanatic, although I have but one: a 1972 Burgundyglo 4001. Full width MOP inlays, checkerboard binding... Read 'em and weep!

Thanks for the kind comparisons! Two heroes for sure, especially Ray Davies and his songwriting. Someday I will acquire my Rick 12, and all will be well.

Best to you! -Mark