It's been quite while since I updated. We've been working hard on different songs, have gone into the studio a few times with new singers, and have been talking with out lawyer as she wrangled with WB for adaptation rights, for, by the way, The Lost Boys--the 1987 cult-classic vampire film.
Sadly, one week ago. Ben and I found out from Warner Bros. that they were not interested in giving us licensing rights.
It was a pretty hard blow. It's been a ton of time, a ton of money, and a ton of work.
Ben and I had a conversation. Do we say, "fuck it" and pay to record everything anyway? Do we give up entirely and do something else? WHAT DO WE DO?
So here's what we're doing. We're going to complete the last remaining songs of the musical in Ben's home studio, and we're going to film a concept video including the songs we've already recorded. THen we promote the crap out of it online. And then we see what happens. Maybe it generates buzz, and maybe it doesn't. But if the guy who wrote mediocre songs for "The Goonies Musical" can put them to clips of the film illegally on YouTube and still be featured in a British film magazine, then we have a shot.
We're scheduled to film in January. Will keep you posted.
Friday, December 3, 2010
Tuesday, August 24, 2010
3 2 1 Contact - Michael
That was a show that I watched on public television.
We got in contact with a star of the film's manager, as I may have mentioned. (Michael, you say, wouldn't it be easy to just go back and look at your previous posts to see if you've mentioned this previously? Fluck that schlit.) So I talked to the guy on the phone last night, and it went as well as could be expected. Basically, i told him that ideally, we'd like to have his client, let's call him "Donatello," use his influence over at WB to help our cause, or, on the lower end of the spectrum, we'd like to get some sort of quote from Don to use on the album.
He kind of bypassed the Donny helping us thing and simply gave me the name of a guy at WB to contact. However, he did say that once the whole thing was done, we could probably arrange for a quote. So hey! That's something!
Other news: We got the songs sounding more or less to where we want them to be. We've since gone back in the studio and have started recording five more in WB wants to hear more. Oh yeah! Our lawyer is mailing the demo to WB TODAY. Hopefully SOMETHING will come out of that. If not, it's gorilla tactics all the way. No, that's not a misspelling. We will systematically rent gorilla suits and promptly send them to WB filled with copies of the album.
You know, honestly, it's not a terrible way to get people to notice you.
We got in contact with a star of the film's manager, as I may have mentioned. (Michael, you say, wouldn't it be easy to just go back and look at your previous posts to see if you've mentioned this previously? Fluck that schlit.) So I talked to the guy on the phone last night, and it went as well as could be expected. Basically, i told him that ideally, we'd like to have his client, let's call him "Donatello," use his influence over at WB to help our cause, or, on the lower end of the spectrum, we'd like to get some sort of quote from Don to use on the album.
He kind of bypassed the Donny helping us thing and simply gave me the name of a guy at WB to contact. However, he did say that once the whole thing was done, we could probably arrange for a quote. So hey! That's something!
Other news: We got the songs sounding more or less to where we want them to be. We've since gone back in the studio and have started recording five more in WB wants to hear more. Oh yeah! Our lawyer is mailing the demo to WB TODAY. Hopefully SOMETHING will come out of that. If not, it's gorilla tactics all the way. No, that's not a misspelling. We will systematically rent gorilla suits and promptly send them to WB filled with copies of the album.
You know, honestly, it's not a terrible way to get people to notice you.
Monday, August 2, 2010
Two More In The Can - Michael
This Wednesday, the 4th of August, 2010, we go into the studio to record the music for two more songs, anticipating a move with WB. One's a lullaby transitioning into a rockabilly number. The other is an in your FACE metal number. It's somehow both extremely metal and extremely musical at the same time. Don't know how it worked out, but it did.
Trying to finagle this letter with the lawyer. This thing is like, four pages long now. I think she's taking a "we mean business" approach, so I'm all for it. It's a culmination of her writing and mine, and hopefully, with our powers combined, we can be Captain Plan-It, and start planning the rest of this album out.
Pun fail.
Got a bunch of singers looking to audition for the main villain. So close to having a full cast. One audition is with a guy who toured as Ted Neeley's understudy for two years. He claims he can belt it like a biotch, so I'm hopeful that he'll come through.
Just bought an awesome bass, btw.
Here it is.
It's awesome, and since I'm going to be playing bass on most of the tracks, I wanted to get something I was proud to play, and that would make our stuff sound all the better.
Oh, and as a side note, Ben and I are looking to record an album with our old rock band, Scoundrel. Something to Ziploc those memories in. It will kick ASS.
That is all.
Trying to finagle this letter with the lawyer. This thing is like, four pages long now. I think she's taking a "we mean business" approach, so I'm all for it. It's a culmination of her writing and mine, and hopefully, with our powers combined, we can be Captain Plan-It, and start planning the rest of this album out.
Pun fail.
Got a bunch of singers looking to audition for the main villain. So close to having a full cast. One audition is with a guy who toured as Ted Neeley's understudy for two years. He claims he can belt it like a biotch, so I'm hopeful that he'll come through.
Just bought an awesome bass, btw.
Here it is.
It's awesome, and since I'm going to be playing bass on most of the tracks, I wanted to get something I was proud to play, and that would make our stuff sound all the better.
Oh, and as a side note, Ben and I are looking to record an album with our old rock band, Scoundrel. Something to Ziploc those memories in. It will kick ASS.
That is all.
Wednesday, July 21, 2010
The Waiting Game - Michael
The demo is done. And while there are still a few minor tweaks that need to be made to the songs when we make the final album, those three songs are, as a whole, DONE. Effing done. And they sound great.
We've since sent the demo to our lawyer who is currently drafting the letter that will go to Warner Bros. We were supposed to get that draft yesterday, but that didn't happen. Still haven't heard back from them. I trust them implicitly; I'm just impatient.
Also, we got in contact with the manager of an actor who was in the film that we're adapting. He was a major character in it, and we're hoping if he likes it, that he'll use some of his sway over at WB to help us out. According to UPS tracking, the manager received the demo we sent him. Haven't heard back from him yet, either.
We're looking to have the MUSIC of four more songs recorded by September 1. It's all just so much waiting. It's driving me insane. When I'm at work, I think about the songs. I wish I could take off for a month, and just sit with Ben and bang this shit out.
We've since sent the demo to our lawyer who is currently drafting the letter that will go to Warner Bros. We were supposed to get that draft yesterday, but that didn't happen. Still haven't heard back from them. I trust them implicitly; I'm just impatient.
Also, we got in contact with the manager of an actor who was in the film that we're adapting. He was a major character in it, and we're hoping if he likes it, that he'll use some of his sway over at WB to help us out. According to UPS tracking, the manager received the demo we sent him. Haven't heard back from him yet, either.
We're looking to have the MUSIC of four more songs recorded by September 1. It's all just so much waiting. It's driving me insane. When I'm at work, I think about the songs. I wish I could take off for a month, and just sit with Ben and bang this shit out.
Wednesday, June 30, 2010
2 Out of 3 Ain't Great - Michael
Studio last night. Doin' the mixin' thang. Of the three songs we mixed, I'm unhappy with one. It's such a small thing, but of the say, 10 minutes of recorded music, roughly 15 seconds of it drives me nuts. Ben's cool with it, but he says if I'm not, we can mess with it. He can hear my complaint, but he takes it as a stylistic choice, and not an pissue. But I see it as an issue. And I know it can be fixed. If it can sound better, I guess it should sound better. He agrees with that.
But at what point to you accept what you have? And at what point do you keep trying to improve it? I mean, you can edit to oblivion, but eventually you have to say, "This is what it is. This is good. And it's good enough."
Luckily, this particular instance does not fall into this category. I was listening to the same three songs last night repeatedly, so I might have some listening fatigue. I'll give it a shot tonight. Let an objective party listen to it. If I'm still unhappy, or they mention the problem without me prompting them, and Ben's cool with it, it's getting changed.
But at what point to you accept what you have? And at what point do you keep trying to improve it? I mean, you can edit to oblivion, but eventually you have to say, "This is what it is. This is good. And it's good enough."
Luckily, this particular instance does not fall into this category. I was listening to the same three songs last night repeatedly, so I might have some listening fatigue. I'll give it a shot tonight. Let an objective party listen to it. If I'm still unhappy, or they mention the problem without me prompting them, and Ben's cool with it, it's getting changed.
Thursday, June 24, 2010
Don't Knock Garageband - Michael
I know, I know, it's a free program that comes with every Mac. It's got gimmicky features, cartoony graphics, and tired samples. How could anyone take this program seriously? The big bands use Pro Tools, right? Shouldn't I be using that?
Here's the truth: Garageband is an amazing, underrated tool that everyone should use. Especially those on a small budget. I've been using it for years, and I've also been in several recording studios, have spoken with engineers and producers, and have learned tons about recording. Some of this stuff you won't read in guitar mags, and you'll only discover through experience. I'll share what I know:
1. Logic-al Mixing Engine
That's right. Logic, Mac's big bad recording software that costs like 500 bucks uses the exact same mixing engine as Garageband. This means that while GBand might not have the bells and whistles (some very much desired bells and whistles, I might add. Cross-fade and punching in, please?), it uses the same method of creating your final mixdown. So while your editing capabilities are limited, how the two programs combine tracks is identical.
2. Audio Unit (AU) Software
AUs are little add-on programs that work with your recording software. GBand comes with a bunch, hence why the drop down menu under the Details section of a track has things called, "AUBandpass" or "AUMatrixReverb" (awesome reverb, btw). You can actually buy more, and there are a bunch of free ones for download all over the net. Like I said, the stock loops/instruments that come with GBand, except for a few, are pretty weak in the sauce department, but some of the synths are tangy as hell. Then get some JamPacks and expand your set. The orchestral pack is solid as hell, and the instruments therein beat the stock instruments every damn time. For example, "Steinway Orchestra Piano" literally rapes "Grand Piano On Stage." Really. Just rapes it all over the place.
One AU that will REALLY help you SAVE CASH when you're ready to go into a studio? MIDI drum software. The drum instruments that come with GBand are pretty lame and fake sounding, but Ben bought a software called Addictive Drums (and there are others) for about $250 bucks. It takes real drum samples that were recorded from real kits and lets you use a MIDI keyboard to recreate them. It has multiple kits, mic set ups, reverbs, EQs, and even humanizes the samples so it sounds natural. Think about it. The software costs a couple hundred bucks. You can set it to the exact tempo you need and record the drums exactly how you want it. Then, create an uncompressed file of every single drum mic (snare, tom 1, overhead, room, etc.) and save them. (I recommend taking off all effects too, let the producer do that, unless you're dead set sold on teh sound you created). Give all the files to your producer and let him mix and affect. You just saved yourself tons of money that you would've spent on studio time (MSRP $50/hr.) trying to record the drums in real time. Some studios even charge you to rent the kit and charge for the time it takes them to set up and mic the kit! Forget that. Do it yourself. Take your time. Save your money.
3. Tracking
As long as you save each track as its own uncompressed file, GBand is a HUGE money saver when it comes to tracking all synthetic instruments (including drums as mentioned above). I wouldn't recommend it for recording miked guitars or basses or vocals, because your producer at the studio is likely to have better mics and a better recording environment than you do. I personally don't think that line in guitars using GBand's amp simulators sound all that great, but if you have good hardware, you might be able to get an ok sound. But for synth stuff? Always perfect.
4. The Big Guys Use It
Ok, if you care about name recognition and celebrity endorsement, I've got some news for you. Tons of big names in the industry use it. In the recent documentary, It Might Get Loud, The Edge shows you his lair where he goes to create some of his awesome sounds. And wait, what's that glowing on his laptop's monitor as he does so? That's right, Garageband.
You hear about Tommy Lee's massive recording project, The Public Record? This is a project for his band, Methods of Mayhem, in which people are allowed to submit their own tracks for his album, or edit his, and if he likes the sound, he puts them on the album. And guess what? One of the types of files they allow you to download for editing/upload for content? GBAND.
Now, are the big guys mixing and mastering down from Garageband? Eh, no. Highly unlikely. The editing features just aren't there. But so what? You're poor. And you can get away with having a decent sounding recording using only Garageband.
Proof? Go to YouTube and check out the channel, GaragebandandBeyond. That guy has made some really impressive sounds using only Garageband, and I'm thoroughly impressed.
But if you're like me, and have a touch of the purist in you, you'll want that in-studio time for things like guitars, bass, and vocals. Still, combining both Gband and studio time CAN get you a recording that sounds like it was 100% recorded in the studio. It's a freebie, and a goodie.
Here's the truth: Garageband is an amazing, underrated tool that everyone should use. Especially those on a small budget. I've been using it for years, and I've also been in several recording studios, have spoken with engineers and producers, and have learned tons about recording. Some of this stuff you won't read in guitar mags, and you'll only discover through experience. I'll share what I know:
1. Logic-al Mixing Engine
That's right. Logic, Mac's big bad recording software that costs like 500 bucks uses the exact same mixing engine as Garageband. This means that while GBand might not have the bells and whistles (some very much desired bells and whistles, I might add. Cross-fade and punching in, please?), it uses the same method of creating your final mixdown. So while your editing capabilities are limited, how the two programs combine tracks is identical.
2. Audio Unit (AU) Software
AUs are little add-on programs that work with your recording software. GBand comes with a bunch, hence why the drop down menu under the Details section of a track has things called, "AUBandpass" or "AUMatrixReverb" (awesome reverb, btw). You can actually buy more, and there are a bunch of free ones for download all over the net. Like I said, the stock loops/instruments that come with GBand, except for a few, are pretty weak in the sauce department, but some of the synths are tangy as hell. Then get some JamPacks and expand your set. The orchestral pack is solid as hell, and the instruments therein beat the stock instruments every damn time. For example, "Steinway Orchestra Piano" literally rapes "Grand Piano On Stage." Really. Just rapes it all over the place.
One AU that will REALLY help you SAVE CASH when you're ready to go into a studio? MIDI drum software. The drum instruments that come with GBand are pretty lame and fake sounding, but Ben bought a software called Addictive Drums (and there are others) for about $250 bucks. It takes real drum samples that were recorded from real kits and lets you use a MIDI keyboard to recreate them. It has multiple kits, mic set ups, reverbs, EQs, and even humanizes the samples so it sounds natural. Think about it. The software costs a couple hundred bucks. You can set it to the exact tempo you need and record the drums exactly how you want it. Then, create an uncompressed file of every single drum mic (snare, tom 1, overhead, room, etc.) and save them. (I recommend taking off all effects too, let the producer do that, unless you're dead set sold on teh sound you created). Give all the files to your producer and let him mix and affect. You just saved yourself tons of money that you would've spent on studio time (MSRP $50/hr.) trying to record the drums in real time. Some studios even charge you to rent the kit and charge for the time it takes them to set up and mic the kit! Forget that. Do it yourself. Take your time. Save your money.
3. Tracking
As long as you save each track as its own uncompressed file, GBand is a HUGE money saver when it comes to tracking all synthetic instruments (including drums as mentioned above). I wouldn't recommend it for recording miked guitars or basses or vocals, because your producer at the studio is likely to have better mics and a better recording environment than you do. I personally don't think that line in guitars using GBand's amp simulators sound all that great, but if you have good hardware, you might be able to get an ok sound. But for synth stuff? Always perfect.
4. The Big Guys Use It
Ok, if you care about name recognition and celebrity endorsement, I've got some news for you. Tons of big names in the industry use it. In the recent documentary, It Might Get Loud, The Edge shows you his lair where he goes to create some of his awesome sounds. And wait, what's that glowing on his laptop's monitor as he does so? That's right, Garageband.
You hear about Tommy Lee's massive recording project, The Public Record? This is a project for his band, Methods of Mayhem, in which people are allowed to submit their own tracks for his album, or edit his, and if he likes the sound, he puts them on the album. And guess what? One of the types of files they allow you to download for editing/upload for content? GBAND.
* * *
Now, are the big guys mixing and mastering down from Garageband? Eh, no. Highly unlikely. The editing features just aren't there. But so what? You're poor. And you can get away with having a decent sounding recording using only Garageband.
Proof? Go to YouTube and check out the channel, GaragebandandBeyond. That guy has made some really impressive sounds using only Garageband, and I'm thoroughly impressed.
But if you're like me, and have a touch of the purist in you, you'll want that in-studio time for things like guitars, bass, and vocals. Still, combining both Gband and studio time CAN get you a recording that sounds like it was 100% recorded in the studio. It's a freebie, and a goodie.
Monday, June 14, 2010
Full Frontal Shrewdity - Michael
We're leading the assault. As far as the current schedule goes, we should be ready to send the studio heads our prosposal and demo in 3-4 weeks. This week, the last song should be recorded. Next week, final mix and mastering. 3rd week, print demos send to lawyer and copyright songs. 4th week, finalize letter with lawyer and send it to the studio heads.
Up until now, our plan has been to get the rights from the studio to go through with our adaptation, before moving ahead with the project. I've been doing some reaserch, and found the contact information for a few stars from the film, as well as the producer. So rather than one front, we're going to attack all fronts possible. Hell, maybe we'll get an agent.
One bit of news, slightly inspiring and yet, disconcerting. The film, The Goonies, is being considered by Richard Donner to be made into a Broadway musical. The article I found featured some fans that have already started work on a Goonies musical. It was stressed the the fan-based musical and the Donner project were not connected in any way, so I assume that Donner's version is not going to be using the songs from the fans.
This could be seen as inspiring--seeing a film get made into a musical---if it happens for The Goonies, it could happen for us, but it's also diheartening for two reasons: One, it could lead to somebody having the same idea about adapting the film we're adapting, and two, and here's the really irksome thing, these guys have written their songs and made music videos to them on YouTube using footage from The Goonies. Here we are, painstakingly trying to avoid all copyright issues, and these wipes have an article in Slash Film written about them. Their videos are direct copyright violations, and haven't been taken down. Annoying.
In other news, a tiny hiccup this past week: the Venezuelan singer, after sending us a mere one track of him singing his song, has vanished. Can't be reached. It's caused us to buckle down and finish writing another song that we're having recorded this week. I mean, sure we get another song in the bag, but it's more work, more money, more time that we don't have, plus if we never hear from the guy again, we have to find yet another singer.
So time to introduce a new singer. Her name is Samantha. She's recording with us this week (along with the perpetually stellar Jones) and she's amazing. This woman was born for Broadway, and I'm exceptionally excited to be working with her.
And now for something completely different, I get bothered when people try to extend words when they type to show you how they're saying it, but then do it incorrectly. Like when someone writes "cool" as "coollllllllllllllllllllllllll" instead of as "coooooooooooooooool," or for "anyway," you get, "anywayyyyyyyyyyyyy" when it should be "anywaaaaaaaaaaay."
Just sayin'.
Up until now, our plan has been to get the rights from the studio to go through with our adaptation, before moving ahead with the project. I've been doing some reaserch, and found the contact information for a few stars from the film, as well as the producer. So rather than one front, we're going to attack all fronts possible. Hell, maybe we'll get an agent.
One bit of news, slightly inspiring and yet, disconcerting. The film, The Goonies, is being considered by Richard Donner to be made into a Broadway musical. The article I found featured some fans that have already started work on a Goonies musical. It was stressed the the fan-based musical and the Donner project were not connected in any way, so I assume that Donner's version is not going to be using the songs from the fans.
This could be seen as inspiring--seeing a film get made into a musical---if it happens for The Goonies, it could happen for us, but it's also diheartening for two reasons: One, it could lead to somebody having the same idea about adapting the film we're adapting, and two, and here's the really irksome thing, these guys have written their songs and made music videos to them on YouTube using footage from The Goonies. Here we are, painstakingly trying to avoid all copyright issues, and these wipes have an article in Slash Film written about them. Their videos are direct copyright violations, and haven't been taken down. Annoying.
In other news, a tiny hiccup this past week: the Venezuelan singer, after sending us a mere one track of him singing his song, has vanished. Can't be reached. It's caused us to buckle down and finish writing another song that we're having recorded this week. I mean, sure we get another song in the bag, but it's more work, more money, more time that we don't have, plus if we never hear from the guy again, we have to find yet another singer.
So time to introduce a new singer. Her name is Samantha. She's recording with us this week (along with the perpetually stellar Jones) and she's amazing. This woman was born for Broadway, and I'm exceptionally excited to be working with her.
And now for something completely different, I get bothered when people try to extend words when they type to show you how they're saying it, but then do it incorrectly. Like when someone writes "cool" as "coollllllllllllllllllllllllll" instead of as "coooooooooooooooool," or for "anyway," you get, "anywayyyyyyyyyyyyy" when it should be "anywaaaaaaaaaaay."
Just sayin'.
Thursday, June 10, 2010
The Opportunity to Say Yes - Michael
I have a friend who's also doing the whole "follow your creative dreams" (barf) thing, and through her philosophy of "training your gut to listen to the universe" has increasingly been successful. I asked her if I should write a letter to the producer of the film that we're adapting.
She said, "You need to give people the opporunity to say yes."
"So yeah, do it." she added.
Not terribly original, I realize. As my girlfriend pointed out, it's the whole "You will miss 100% of the shots you don't take," thing. Hell, my friend even admitted that she got it from her friend. But it was important to hear. I'm not sure where I stand on the whole "listen to the universe" thing; I like to think I bend it to me, and not the other way around. It seems, however, to be working for her, so maybe it couldn't hurt.
Now that I think about it, the universe did throw the guy's address into my lap...
I'm writing the letter.
She said, "You need to give people the opporunity to say yes."
"So yeah, do it." she added.
Not terribly original, I realize. As my girlfriend pointed out, it's the whole "You will miss 100% of the shots you don't take," thing. Hell, my friend even admitted that she got it from her friend. But it was important to hear. I'm not sure where I stand on the whole "listen to the universe" thing; I like to think I bend it to me, and not the other way around. It seems, however, to be working for her, so maybe it couldn't hurt.
Now that I think about it, the universe did throw the guy's address into my lap...
I'm writing the letter.
Friday, June 4, 2010
The Lovely Couple - Michael
Is it working? Is it happening? Can it be?
Last week, Ben and I found our leading couple for LBM. Yes, the leading man and leading girl have both been found, and this Tuesday, June 8, we'll FINALLY be recording the musical's main duet. This is one of the songs to be included on the demo, and one of the staples of the musical in general, as it incorporates musical themes from the film, and it establishes themes that are incorporated throughout the album.
Moreover, these two singers bring vibrancy to the roles. And I've never used the word vibrancy before EVER.
For one, the characters are 18 and 17, respectively. We had originally auditioned singers who were older, between 25-40, thinking that their professionalism and experience would win out, that if Anthony Rapp could pull off sounding 20ish, it'd work. This wasn't the case. With the exception of a few instances, their voices were not believable as teenagers. Plus, there was an excitement missing.
The singers we've hired, Jones (guy) and Denny (girl) are 16. They both come from a magnet school for the arts and it shows. Professional, talented, and self-aware (not self-conscious). They are distinctly realized when it comes to feeling a song, and knowing their place in it.
Either that or they fake it really effing well.
Jones has got a classic sound, a bit like Roger of Rent when he wants to be, but more well-rounded. What's great about this kid is he's a music dork, and that makes him awesome. Ben played a diminished fourth chord on the guitar the other day and Jones got goosebumps. Seriously. Tubular. (Did he just write tubular?)
Denny's voice has a signature quality that is crucial for her role: dynamics. Denny can give you a pop rock boldness, but adjust the tone controls (located on her left shin) and she backs off her voice to a sweet, willowy sound. She adds personality to the song instead of just hitting the notes. And she reads good books; it matters.
Each of these singers has a unique voice that doesn't sound like we slammed Kristen Chenowith's or Michael Crawford's vocal chords into a copy machine and cloned their love children. (Wait, I'm confused. The vocal chords have kids?) And that's a good thing. We don't want this to sound like everything you've ever heard. Sure, the formula is similar, but the ingredients are different, and I think that'll make the difference.
Behind on schedule, ahead on anticipation. Let's go.
Last week, Ben and I found our leading couple for LBM. Yes, the leading man and leading girl have both been found, and this Tuesday, June 8, we'll FINALLY be recording the musical's main duet. This is one of the songs to be included on the demo, and one of the staples of the musical in general, as it incorporates musical themes from the film, and it establishes themes that are incorporated throughout the album.
Moreover, these two singers bring vibrancy to the roles. And I've never used the word vibrancy before EVER.
For one, the characters are 18 and 17, respectively. We had originally auditioned singers who were older, between 25-40, thinking that their professionalism and experience would win out, that if Anthony Rapp could pull off sounding 20ish, it'd work. This wasn't the case. With the exception of a few instances, their voices were not believable as teenagers. Plus, there was an excitement missing.
The singers we've hired, Jones (guy) and Denny (girl) are 16. They both come from a magnet school for the arts and it shows. Professional, talented, and self-aware (not self-conscious). They are distinctly realized when it comes to feeling a song, and knowing their place in it.
Either that or they fake it really effing well.
Jones has got a classic sound, a bit like Roger of Rent when he wants to be, but more well-rounded. What's great about this kid is he's a music dork, and that makes him awesome. Ben played a diminished fourth chord on the guitar the other day and Jones got goosebumps. Seriously. Tubular. (Did he just write tubular?)
Denny's voice has a signature quality that is crucial for her role: dynamics. Denny can give you a pop rock boldness, but adjust the tone controls (located on her left shin) and she backs off her voice to a sweet, willowy sound. She adds personality to the song instead of just hitting the notes. And she reads good books; it matters.
Each of these singers has a unique voice that doesn't sound like we slammed Kristen Chenowith's or Michael Crawford's vocal chords into a copy machine and cloned their love children. (Wait, I'm confused. The vocal chords have kids?) And that's a good thing. We don't want this to sound like everything you've ever heard. Sure, the formula is similar, but the ingredients are different, and I think that'll make the difference.
Behind on schedule, ahead on anticipation. Let's go.
Thursday, May 20, 2010
Nightlife - Michael
If you can't work the dream, you have to dream after work. The creation of this musical isn't my full-time job, and besides the musical, Ben and I are also involved in other music projects that require our time. We'd like for music creation to be our bacon, but right now it's our scrapple--the leftover stuff that we have to work toward during our "leftover" time. Yesterday's a case in point:
7:00 a.m. -- Wake up.
8:30 a.m. -- Arrive at work, a one hour Metro ride away.
5:00 p.m. -- Leave work, your basic tedious 8.5 hour day.
6:00 p.m. -- Arrive home. Jump in the car and leave for Ben's, during rush hour, over an hour away.
7:20 p.m. -- Arrive at Ben's apartment. We record a parody for an e-column I write. Re-record the vocal track for a commercial we were hired to do, then master it. Receive Skype call from Chego, that singer in Venezuela. Tells us he's healthy again and better than ever. (AWESOME.) Chego sends us a new version of him singing one of our songs, and Ben and I go over it wirh him, asking him to adjust his accent here and there. He nails it. We send him money via PayPal (now that's trust) and with it, he'll be recording his OFFICIAL vocal track in a professional studio on Monday. It's the best news Ben and I have heard in eons.
11:30 p.m. -- Talk to Ben about plans for next week regarding recording. Leave Ben's. Grab some Taco Bell because I missed dinner.
12:30 a.m. -- Arrive home. Get to sleep about 1:30 a.m.
And that's how it is: One big awesome pain in the ass.
On the way home, we talked on the phone:
7:00 a.m. -- Wake up.
8:30 a.m. -- Arrive at work, a one hour Metro ride away.
5:00 p.m. -- Leave work, your basic tedious 8.5 hour day.
6:00 p.m. -- Arrive home. Jump in the car and leave for Ben's, during rush hour, over an hour away.
7:20 p.m. -- Arrive at Ben's apartment. We record a parody for an e-column I write. Re-record the vocal track for a commercial we were hired to do, then master it. Receive Skype call from Chego, that singer in Venezuela. Tells us he's healthy again and better than ever. (AWESOME.) Chego sends us a new version of him singing one of our songs, and Ben and I go over it wirh him, asking him to adjust his accent here and there. He nails it. We send him money via PayPal (now that's trust) and with it, he'll be recording his OFFICIAL vocal track in a professional studio on Monday. It's the best news Ben and I have heard in eons.
11:30 p.m. -- Talk to Ben about plans for next week regarding recording. Leave Ben's. Grab some Taco Bell because I missed dinner.
12:30 a.m. -- Arrive home. Get to sleep about 1:30 a.m.
And that's how it is: One big awesome pain in the ass.
On the way home, we talked on the phone:
Me: "After dealing with a bunch of setbacks for the past few weeks, it's a relief to have something finally come through."
Ben: "Yeah, I have a feeling most of the time it'll be like that. But the end result will always be worth whatever shit we have to deal with leading up to it."He's probably right. Today, "my friends" (as Chego would say, somewhat reminescent of the Dos Equis guy), all's well and lookin' up.
Monday, May 17, 2010
The World at Large - Michael
I was reading several back issues of Rolling Stone today and once again realized that I'm very small. And I have to imagine that's a common feeling to an aspiring songwriter: Everyone's doing everything, and the market is saturated, and why will what I make matter?
I read an article/interview about will.i.am of the Black Eyed Peas (among other projects) and he's now considered one of the most preeminent songwriters of our time. He has his several theories about the music industry, and then you flip the page, and there's Jack White, discussing his new Dead Weather album (some brutal blues man, I own it) and talking about the strength of independent labels returning. Then I read about Them Crooked Vultures--a supergroup of massive proportions from grunger Dave Grohl to Led-head J.P. Jones and that Queens of the Stone Age guy. Speaking of which, Mary J. Blige and Steve Vai collaborated on "Stairway to Heaven." Too much.
The world at large is intimidating. Keep your head down. Power through.
I read an article/interview about will.i.am of the Black Eyed Peas (among other projects) and he's now considered one of the most preeminent songwriters of our time. He has his several theories about the music industry, and then you flip the page, and there's Jack White, discussing his new Dead Weather album (some brutal blues man, I own it) and talking about the strength of independent labels returning. Then I read about Them Crooked Vultures--a supergroup of massive proportions from grunger Dave Grohl to Led-head J.P. Jones and that Queens of the Stone Age guy. Speaking of which, Mary J. Blige and Steve Vai collaborated on "Stairway to Heaven." Too much.
The world at large is intimidating. Keep your head down. Power through.
Thursday, May 13, 2010
Baby in a Stranger's Hands - Michael
I hope success is based on how much you have to overcome first. As we try to get this demo done by the end of May, more and more obstacles get thrown in our path.
One singer believed she wasn’t right for the part and suggested another singer, who, while talented, has been difficult to obtain auditions from.
Most of the singers we audition have wonderful voices...for other styles of music.
Another singer was perfect for one role, so we assumed that he’d be perfect for another. We had him come into the studio, and we were wrong. His voice, while excellent, was not suited for the role. We had to pay him anyway, of course. More time and cash lost.
One of the singers we’re working with lives in Venezuela. English is not his first language, but his voice is absolutely amazing. And now, today, I received an email from him. His tonsils were just removed and now as a result of the operation, he’s even more sick and will be out of commission for about a MONTH.
Sometimes it seems like this will never happen.
This is the huge downside to collaboration--you put your baby in a stranger’s hands. Once you rely on other people, your project is no longer entirely in your control.
Michael
Wednesday, May 12, 2010
Vehicle, Part 1 - Michael
Multi-layered appreciation for a song starts with the top layer. Before casual music fans can appreciate your syncopated minor-under-major bass line, they need something bold and moving to hold their hand and take them on the journey of the song--an idea that's less cheesy than it sounds.
I, amateur as I am, call this concept a song's "vehicle."
Casual music fans don't understand (or care about) the time, effort, or life experience it took to make your song. The fact that you made a conscious decision to use digital delay set to dotted eighth notes for the second chorus's background mandolin means nothing. Oh wait, your lyrics only seem dumb, but in fact, they're wittily alluding to Zager & Evans and should be given their due? Nope. Sorry. Unless you've led them from the get-go--the fans are gone.
A song's vehicle is a singular musical device that maintains a listener's interest and carries the listener to the song's next vehicle. This can be anything--a beat, a solo, so long as it serves to connect with the listener and move them emotionally.
This is not the same concept as a song's "hook." Hooks are vehicles, but not all vehicles are hooks. I'll explain.
You have a really catchy chorus, complete with a very cathartic, yet melodically simple "Yeah whoa-oh!" type of thing. It's a fine vehicle. Your song's Corvette, if you will. Fast, flashy, fun. But what's driving your listener between the hooks? Is your second verse so boringly repetitive that your listeners are stuck "walking" to the next chorus?
You say, "Well, I'm not writing for those casual asshats. I want to be respected by my peers. They get me, and their opinion is what matters." Ok. The respect of your peers is invaluable and certainly qualifies for success. But you can't make waves in a bathtub. As a creative person, you likely want a type of recognition that goes beyond respect, and perhaps achieves some level of immortality. To make those kind of waves, you need an ocean of listeners. For me, a guy in a team writing a musical (a form with a very limited market), the idea of attracting people who never thought they liked musicals and changing their ideas about music is too luring not to give casual music fans some thought.
I'm a nobody. I'm not famous. I'm not saying I'm an expert in songwriting. These are just some ideas. Might seem obvious, but they're important.
I have some more ideas regarding vehicles, including some explanation about what I mean by "singular," as well as what works, and maybe an example or two. A later post!
Michael
A song's vehicle is a singular musical device that maintains a listener's interest and carries the listener to the song's next vehicle. This can be anything--a beat, a solo, so long as it serves to connect with the listener and move them emotionally.
This is not the same concept as a song's "hook." Hooks are vehicles, but not all vehicles are hooks. I'll explain.
You have a really catchy chorus, complete with a very cathartic, yet melodically simple "Yeah whoa-oh!" type of thing. It's a fine vehicle. Your song's Corvette, if you will. Fast, flashy, fun. But what's driving your listener between the hooks? Is your second verse so boringly repetitive that your listeners are stuck "walking" to the next chorus?
You say, "Well, I'm not writing for those casual asshats. I want to be respected by my peers. They get me, and their opinion is what matters." Ok. The respect of your peers is invaluable and certainly qualifies for success. But you can't make waves in a bathtub. As a creative person, you likely want a type of recognition that goes beyond respect, and perhaps achieves some level of immortality. To make those kind of waves, you need an ocean of listeners. For me, a guy in a team writing a musical (a form with a very limited market), the idea of attracting people who never thought they liked musicals and changing their ideas about music is too luring not to give casual music fans some thought.
I'm a nobody. I'm not famous. I'm not saying I'm an expert in songwriting. These are just some ideas. Might seem obvious, but they're important.
I have some more ideas regarding vehicles, including some explanation about what I mean by "singular," as well as what works, and maybe an example or two. A later post!
Michael
Sunday, May 9, 2010
The Process - Michael
It's been over two years since Ben and I first had the idea for LBM. I call it LBM to avoid having the idea stolen, while being very aware of the fact that it seems pretentious to think that an idea you have is worth stealing. This one is.
It began with a concept and three songs, and over two years later, has amounted to an incomplete musical adaptation comprising 20 songs, with only 3 of them professionally recorded at this point.
Such is the expense, time, and the creative struggle of creating a comprehensive work. Granted, there was a 9 month period of time where Ben and I became a bit disenchanted, and didn't touch LBM the entire time.
Since then, Ben and I started a tiny company called Status Music Design on the suggestion of our lawyer. (Oh, we got a lawyer too.) The business plan is probably the same as your ideal business plan: do what you want when you want and get paid doing it. As our musical is an adaptation of a major motion picture, we've unsuccessfully tried twice to contact the production company for adaptation rights. Once by ourselves, once through our lawyer. A third time is in the works. This time, we're sending a three song demo--something that perfectly embodies the tone and the experience of LBM.
The demo is about 75% complete. And after over two years of efforts, I'm sometimes daunted by the task of taking this project to completion. This blog serves to chronicle all aspects of the process--the struggle to create, the method of writing and recording, the gear used to develop our sounds, and the tribulations of the business aspect of creativity. Also, I hope that by blogging, Ben and I will motivate ourselves to continue, and maybe help/inspire others who may be trying the same thing. (Hopefully not the exact same thing ;-)
Michael
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