My Cyclone – Lyrics

The second day
The Puritans say
That’s when you have to try

No more coasting
Down the hill
Short throw that shifter into drive

In a cyclone
With papers swirling around
I’m determined
And I’m anchored down

Board the plane
Bear the pain
Leave someone behind

Above the clouds
A pillowed world
Catches fools who dive

In cyclone
With papers swirling around
I’m determined
And anchored down

Arrive in town
The wind dies down
Stand up like a man

Face the East
Whistle low
Hatch a worthy plan

In cyclone
With the papers swirling around
I’m determined
And I won’t back down

Smile at Me – Details

I developed this song in a similar manner to “Kansas City.” It was written on the acoustic guitar, so I recorded the guitar first, with a basic tracking vocal, which I ended up keeping for the final mix.

The acoustic guitar was recorded using two mics: a Shure SM57 up kind of close to the strings to get the impact of the strumming, and my Audio Technica AT4040 mic set back about two-three feet. I mixed both tracks together with a bit of a left pan.

The rest of the elements were as follows, in this order:

* Live drums, using my Tama kit. I mic’d it as I usually do (see Details for the song, “Down a Notch”), but moved the AT4040 off to the left a bit, closer to the hi-hat side of the kit, just to add a little more room ambience. The AT4040 ended up pretty low in the mix anyway. I originally tried for a more elaborate drum track, but based partly on my limited playing ability, I decided to keep it simple. The main elements are the open hi-hat starting key measures, a slight change in the kick drum rhythm at the end of each verse, and some carefully placed tom fills. I tried to limit the use of compression on the drums, but ended up using it somewhat to clarify the kick and snare in particular. As usual, the drums were a blast to play and record. 🙂

* For bass, I went with my usual approach of using my Yamaha RBX 170 recorded directly through the PreSonus Firestudio into Cubase. However, instead of using any compression, I went with one of the built-in simulated amps that come with Cubase 6 now. It’s the AmpSimulator plug-in, and I started with the “Tube 1” and “Cabinet 10” presets. Then I tweaked the EQ in both the amp plugin and in the Cubase channel. I’m finally learning that it’s better to cut bass frequencies in many cases, rather than attempt to boost any. I think the final mix on this is much cleaner near the bottom and not as muddy as my previous mixes, but only your ears can say for sure.

* I then started adding some keyboard sounds. I wanted to experiment with some of the Cubase 6 built-in sounds, and ended up settling on these patches from the HALion Sonic SE software synth:

1) Prog Rock Organ, panned hard right and low in the mix, except at key parts of the song to fill in between verses.

2) Soft Attack Brass, panned a bit left and used to bring home a few primary tones at selected points in the verse and as a way to build up to the chorus.

3) Solo Viola, which is actually used in the song more like an electric violin.

4) [GM 006] Electric Piano 2, which I used in the chorus to add a staccato little rhythm. Doesn’t really sound like an electric piano, but it served the purpose I was looking for.

* For background vocals, I again tried to keep it simple. Added single track of background for a few key phrases in the chorus, and then added a harmony to the chorus, which was fun, because this song has some chord progressions that required a little planning for the harmonies (for example, A major to A minor in the chorus meant dropping the harmony down a half-tone from C# to C natural, which took some practice tracks to get right).

Smile At Me – Lyrics

I don’t care what you might
Say tomorrow
I’m only thinking ’bout
Today

If I had the time I’d
Think about tomorrow
But I’m too busy watching
You today

Looking back across a
Wide river
Water flowing down
To the bay

I want float down on that
Easy water
Turn around and see you
Smile at me

Weekends come and go
They leave you stranded
Grasping for a branch
Before you fall

Sometimes I think that I could
Understand it
If I changed my mind and
went back home
on Monday morning

And on the radio they’re
Talking money
I roll the window down to
Ease my mind

Fresh air blowing ‘cross the
Fine upholstry
Here comes the exit ramp, it’s
Time to choose
Come on, baby,
Smile at me

Down a Notch – Details

* Main rhythm Guitar (panned a bit left) – Performed by guest studio musician, Matt LaQuerre, who played the driving rhythm guitar throughout this song. Matt’s track was recorded using a Shure SM57 up against his Orange crate amp. I believe all the effects were via the Orange amp itself–no pedals were used. I also used a small condenser mic a few feet back just to add a track gave a little ambience.

* Additional rhythm Guitar (panned right) – same recording technique as Matt’s guitar, but I was playing my ASAT Classic through my Fender Blues Junior. I used custom affect on my Digitech RP200 pedal.

* Bass guitar –Performed this track on my Yamaha RBX 170, recorded direct into Cubase, via my FireStudio Project interface and pre-amp.

* Organ fill – Used the Classic Rock Drawbars patch in the Halion Sonic SE software synth that comes with Cubase.

* Punky synth lead on bridge: Autobahn synth lead patch in Sonic SE

* Lead guitar: Used a custom patch on my RP200 pedal, but also applied some compression using the built-in “Compression” plugin in Cubase. Pretty heavy compression, but I like how it cut through and gave it a sharp attack.

* Drums: Recorded live, and played by me on my TAMA StageStar kit, using two CAD CM217 overhead condenser mics, a new Shure SM57 on the snare, an Audio Technica AE2500 in the kick drum, and a Shure BG 5.1 to pick up the toms. This time I also added my AT4040, positioned center, in front, and back about three feet. I think it added a bit of punch to the high toms.

* Vocals: AT4040 main vocal, line – a simple verse harmony, and several tracks of building vocals on the bridge.

Down a Notch – Lyrics

Every moment that you spend
Away from me
Makes me think that you don’t care
For me

However irrational or strange
That seems
There’s no denying that it’s real
To me

I’ve got to take it all down
A notch

I sit around here all day
Paranoid
The kind of person every
One tries to avoid

I want to wake up someday
Break out of this cell
Show the world that I can
Show and tell

I gotta take it all down
A notch

I’m driven, I’m driven
I’ll take it from you

Sixty Years – Recording/Mixing Details

This was written on the piano, and is all built around the opening piano riff.

Piano: Used my go-to Yamaha S90ES Piano patch in Halion Sonic SE software synth that comes with Cubase 6. Originally had a long piano intro, but canned that later for the shorter, more standard intro. Then, realized that a old-time radio effect might be nice in the intro, and I found the “Telephone” patch from the CEQ-30 reverb plugin. I made some modifications to it for the vocal and piano tracks in the intro.

I also panned the piano hard right and the vocal hard left during the intro to mimic a mono recording. Then, when the bass and drums come in, I reset all the panning and EQ settings back to normal as the telephone effect was dropped. For this, the Cubase automation tracks came in very handy.

Drums: Recorded live using my usual mic setup. Took lots of practice to get this part down and it’s still far from perfect, but thanks to some tweaking in cubase to bring the piano, bass, and drums into line, I think it came out okay. Based on how much fun it was to play, record, and mix, I’ll take it.

Bass: I tried recording my bass guitar, via a mic and amp, but ended up going with a MIDI patch. I picked the Halion SE “Acoustic Bass VX” patch, since it seemed to cut through the low registers of the piano nicely and I liked the “fretless” sound on this song.

Lead Vocal: Recorded using my AT4040 mic. Did a lot of experimenting on the lead vocal effects. Ended up going with some very subtle additions, such as a little compression, using the VSTDynamics plugin and edits to the plugin’s “Ballad Lead Vocals” patch. Also added just a touch of delay, using the “Sweet Vocal Delay” patch in the StereoDelay plugin, but it’s just a touch. And finally used the RoomWorks reverb plugin to add some reverb, based on some modifications to the “Plate Bright” patch.

Electric Guitar Lead: Had a really good time with this one. This is my G&L AT Classic played through my Fender Blues amp, with no effects pedals whatsoever. I found some nice settings on the amp itself and then used to mics to record it. My new SM57 parked directly in front of the speaker and on of my CAD CM217 condenser mics about three feet away and four feet off the ground to give some ambience. When I mixed and panned them, I thought the effect was really nice.

I then added a bit of compression to the main track (the SM57 track), using the Multiband Compressor plugin. This was my first time using a multi-band compressor and I found this really powerful. I only use it during the solo bits. For the rhythm parts, I disabled the compression, as well as the second CM217 ambient track. The rhythm kind of recedes into the left can during the verses, and then re-emerges during the solo bits.

Strings: I used a couple sets of HalionOne and Halion SE patches for these. First, a set of tracks that use the “Chamber Strings” patch. I use these on the bridge in an attempt to get a big, airy feeling. During the verse, I used a “Solo Violin” patch to climb up behind and add some texture to the verse. Later, I also added a “String Trio” patch to double up the strings toward the end of the song.

Kansas City – Recording/Mixing Details

Written on the acoustic guitar, so I recorded the guitar first, then bass, then vocal, then drums and other elements. Details follow.

Acoustic guitar: Recorded live, using my Audio Technica AT4040 mic. Then used Cubase to set up a tempo map, based on the live recording. I didn’t end up using the tempo map that much, but it was an interesting exercise and did help with some of the sync-up edits I did later on with the other instrument tracks.

Piano: Recorded on a MIDI keyboard, using the “Yamaha S90ES Piano” patch, which is part of the Halion Sonic SE software synth that comes with Cubase 6. This is my go-to piano patch, which I probably overuse now, but I really like it.

Bass: Used my Yamaha RBX 170 bass guitar, which I bought recently at Guitar Center. Recorded it direct, through the PreSonus Firestudio into Cubase. Used the built-in Multiband Compressor, provided by Cubase 6, and some EQ settings, but no other effects. This was my first time using the multi-band compressor and it worked great as a way to fine-tune the EQ of the bass as I fit it into the mix later.

Drums: Recorded live, on my TAMA StageStar kit, using two CAD CM217 overhead condenser mics, a new Shure SM57 on the snare, an Audio Technica AE2500 in the kick drum, and a Shure BG 5.1 to pick up the toms.

Trumpets: Halion Sonic SE “Clear Trumpet NoteExp” patch. When playing two parts, I separated and panned them in separate MIDI tracks.

Cello: Halion Sonic SE “Cello Slow” patch. As with the trumpet, I put the two parts into separate MIDI tracks so I could pan them slightly and raise the volume on the lower part.

Lead and Background Vocals: Recorded using the AT4040. On the Lead Vocal, I used the RoomWorks Reverb plugin. I started with the built-in “Plate Thin” patch and did some editing of the Input and Damping filters to deepen up the vocal a bit and remove some of the higher reverb tones. Added a hint of the “Hall Saint Pauls” patch for a little depth and darkness on top of that.

Kansas City – Lyrics

Sitting here in Kansas City
Staring at a trailer park
Up above me stars are shining
But they’re all far apart

Distance seems to be an issue for me
I can’t seem to see
Very far from where I am
In Kansas City

You’ve got time to tell me things
That only I can hear
In my mind they crystalize
And then they disappear

I can listen carefully
I understand our history
And how we got here
In Kansas City

It takes a long time, waiting
But I’m very good at that
And as the sun is setting
There’s a vampire bat
Chasing me around

Distance is an issue for me
I can’t seem to see
Very far from where I am
In Kansas City

Sixty Years – Lyrics

For more than sixty years
You’ve been telling me
I’ve got to take it slow

I’m not that kind of man
There’s no way that I can
Take it slow

CHORUS:
Nobody knows that like you
Nobody knows what to do
When I get this way
Nobody but you

For more than sixty years
We set the table for two
And friends that came by

Now the kids set their own
We often talk on the phone
And the years roll by

CHORUS

When I learned to fly
First rumbled into the sky
It was a solo flight
The engine clear and bright

And up above the clouds
Beneath the stratosphere
I could hear

A future clear and bright
Leading me on my flight
Through the years

CHORUS

Aborigine – Lyrics

Out my window I see
An aborigine
Painted face and wild eyes looking at me

He’s camping out on my back porch
Wakes me up when he lights his torch
Hunting and gathering around the neighborhood

He takes a Smithsonian stance
Goes into his ritual dance
It’s a midnight party I can’t escape
I can’t wait ’till morning to play back the tape

If you’re keeping score
Have another s’more
There’s no point in judging me tonight

He’s got a friend or two
They can haunt you too
Conjure up a Dreamtime made for you

He takes a Smithsonian stance
Goes into his ritual dance
It’s a midnight party you can’t escape
I can’t wait ’till morning to play back the tape

Out my window I see
The aborigine
He’s packing up his bags and moving away

I’m going to miss his cries
The shadows ’round his eyes
The misty summer evenings lit with fire

He takes a Smithsonian stance
One last ritual dance
Then he fades slowly into the mist
He’s one native dancer I’m going to miss