If you’ve been following this blog for any length of time, you’ll know that I’ve been working on an album for what we might diplomatically call “a while”. You might also have noticed that there were no March or April updates “From The Boiler Room”. Whilst I was working away from home, I had the luxury of three nights a week to work undisturbed on the album and on recording my YouTube videos, but since March, I’ve been working close to home. Living back at home hasn’t had the effect you might think of allowing me more time – progress has been, shall we say, intermittent, as I’ve used the time to catch up on things that needed doing, as well as taking my son to watch Manchester City win their last three home games to become Premier League Champions.
You can keep making excuses, but eventually, you have admit that you’re just not getting the job done, and that’s where I found myself this week. I have already recorded some guitar parts for some songs, but I thought I should crack on and get the rest done, which is what I started to do last night. In order to encourage myself to keep going, I’m going to post what I’ve been up to, and illustrate the post with an image of the (Variax) guitar tone or VST synth I’ve used.
Picking up where I left off, I recorded three parts for “Best Thing I Could Do”. All three parts were recorded using a “sketchbook” sound from the GearBox presets and DI’d on a separate track – it’s the DI sound that will get reamped for use in the final mix. The first part may end up spliced and split across two tracks, as it is a palm muted picking part in the intro and verse that opens up into more ringing arpeggios in the bridge. That’s probably going to end up as a clean part, with delay and possible chorus. I played it using an Epiphone Casino tone from the Variax, (a thinline semi-acoustic sound), and I used the same tone to play some simple power chords to underpin the chorus and solo. I finished off with muted 5ths played as straight 8 downbeats joining in the solo and the end choruses, using a Les Paul Junior tone.
I’d perhaps have got a lot more done in the time I had, but I misplaced the click in Cubase and it took me a while to find it, (and that’s a topic for a future video). Coupled with the fact that I didn’t tempo-sync the delay on the GearBox, which left me with some oddly timed delays in my headphones, means that when I look at the audio for the palm muted picking, it’s not as tight as I want, so I feel a little audio quantising coming on, (and another video to boot).