Insomnia Sound Bible - Track #3
How many jellybeans do you think's in that jar?
You're a geometric genius, THAT'S what you are!
If you can guess how many beans are behind that glass, we might let you share 'em with the rest of the class.
(Dedicated to Blind Lemon Glickman and The Big D)
posted by Eddie The Rat @ 6:05 PM
7 comments
7 Comments:
Who's Blind Lemon Glickman?
EW.
Blind Lemon Glickman is the sawed-off, soul-damaged, share cropper's son of a disentangled man by the name of Sam who kept the workbench mighty messy despite the fact there was no hacksaw to be found. Responsible to nothing but the lightning bug rattle and the Cat named Clyde prattle he set about to doing battle with the chickenshit mindset down by a rusted out swingset that fell apart in the ice/sun glare.
"Isn't that beautiful?"
"Yes, it is, Dad"
Man, and he's stuck with a 'fuck you' stare.
Latest word has it he married a town-torching Pixie somewhere in Dixie and has mellowed a bit - but he don't take no shit - so you best not ask him to turn the noise down or he'll run you around like a snake that got shot in the lot.
Somewhere in Jersey - THAT'S where he's going with that gun in his hand.
In case you're super geeky about recording...I'll be posting the production notes for the songs as well. You can see previous entries and the introduction to the process here:
http://blog.myspace.com/36236323
On with the show!
"Cough Up the Life Units", or CUTLU, as we called it, was one of the first trickier tracks only becuase of the basses. Sure many people have recorded two basses, but it still doesn't make it easy - especially when one is electric and one is acoustic and each has to maintain their charatceristsic.
Eventually, I managed to get them to pan. The electric bass was the easy part as electric basses are usually recorded diretcly into a recording console and can be shaped like putty into the mix where certain frequencies can be boosted or cut (carving) sto fit in the mix. However, fitting it with an acoustic bass which is recorded by a microphone and has many nuances and depth, is a different matter. It took a lot of experimenting with compressors and reverb to get that bass to be balanced with the electric. At one point, both were so clear and seperated, I deemed it the "KFOG mix" and promptly trashed the session - it was totally souless. Anyway, I think it sussed it out well.
BTW, this is the first song that would define how the rest of the album would be mixed. I'd start each new song by asking Pete "what do you see when you hear/play this song?" Pete would then tell me the visuals or the meaning of the song and then I'd *try* to create those images in the mix. For CUTLU, it was 3:30 am on an urban side street lit by golden cones of street lamps...maybe New Orleans. A prostitute and her John stagger back to his pad in the musty air - they are both lonley....and in a vacant lot, a few tough urban crickets play their music...if you listen closely, they are there under the music.
John- I hope you got your question answered, that's all I can say. That might actually be Blind Lemon Glickman who answered but we can't really be sure. There are alot of cheap imitations these days...
Dana- do you mean "EW" in a good or a bad way?
-PM
Check out:
http://www.comfortstand.com/catalog/061/index.html
Listening to that is almost painful. I'm going to play it again.
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