Got a chance to talk with J. this morning before heading off to work. Shockingly, he thought the song also called for a clean electric part in both the intro and the verses. Honestly, the fact that my producer agrees with me kinda freaks me out a bit, even though it's a really good thing. One other quick note about his definition of "clean." He wants the guitar straight into the board, with no effect on it whatsoever. Other things he mentioned include the following:
1) At first, he'd rather have too many tracks/too much noise than not enough. That way, he says, we can pare down until we get it just right, as opposed to figuring out that we need more later and not knowing how to add it in. I'm supposed to, in his words, "throw the kitchen sink at it." Fine by me. That just gets me more comfortable with the process, which in turn, will make things better the further along we get.
2) I'm also supposed to send the tracks in mono. Pretty sure he's told me this before. Still, when I import what he sends me, it comes up in stereo, so it makes sense in my head that I would send him stereo tracks back. I really need to make a list of all the little details that will make this easier on him and just pin it on the wall above my recording gear. I only say this because...
3) Apparently, I forgot to mute the other tracks AGAIN. It's easier for him (obviously) if, after I play along to what he sends me, I take out what he sent me. This way it doesn't double things up for him. Sending J. back only what J. needs means I've got a happier producer, and when the producer is happy, things go much easier.
Anyway, I told him I'd crank out the track he was after tonight after work, and that's exactly what I did. Had to get rid of the vocals and the acoustic part just for my own sense of timing, but once I got that squared away, it got so much easier. I'm importing the track as I write this. Into the dropbox it goes tonight, and that way I can cross that off my list and feel like progress was made today. As for the effect, apparently he's got some cool amp mods that will help us out with that. I just hope that what I tracked tonight works.
Oh, if you're looking for a
4) The song of the day for me was "27 Jennifers" by Mike Doughty.
1) At first, he'd rather have too many tracks/too much noise than not enough. That way, he says, we can pare down until we get it just right, as opposed to figuring out that we need more later and not knowing how to add it in. I'm supposed to, in his words, "throw the kitchen sink at it." Fine by me. That just gets me more comfortable with the process, which in turn, will make things better the further along we get.
2) I'm also supposed to send the tracks in mono. Pretty sure he's told me this before. Still, when I import what he sends me, it comes up in stereo, so it makes sense in my head that I would send him stereo tracks back. I really need to make a list of all the little details that will make this easier on him and just pin it on the wall above my recording gear. I only say this because...
3) Apparently, I forgot to mute the other tracks AGAIN. It's easier for him (obviously) if, after I play along to what he sends me, I take out what he sent me. This way it doesn't double things up for him. Sending J. back only what J. needs means I've got a happier producer, and when the producer is happy, things go much easier.
Anyway, I told him I'd crank out the track he was after tonight after work, and that's exactly what I did. Had to get rid of the vocals and the acoustic part just for my own sense of timing, but once I got that squared away, it got so much easier. I'm importing the track as I write this. Into the dropbox it goes tonight, and that way I can cross that off my list and feel like progress was made today. As for the effect, apparently he's got some cool amp mods that will help us out with that. I just hope that what I tracked tonight works.
Oh, if you're looking for a
4) The song of the day for me was "27 Jennifers" by Mike Doughty.
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