So, here it is:

http://dl.dropbox.com/u/13184331/punksong_voxfix_3.mp3

Drums played by good buddy, Landon. They was recorded in my basement, GJ+snare mic. AKG D112 in the kick, MXL2001s for OHS, MXL990 on snare. OHs are approximately 40" from the snare, 990 is about 9" away from snare, pointed across the top of it at the floor tom. I will let Snaxie chime in on production details if he sees fit.

Guitars, bass and vocals performed by me. Guitar and bass were re-amped by Eric at Garda HQ (as well as mixing and mastering duties). Four takes of guitars, two with my bastard Fender Musicmaster, two with my Tele '72 Thinline reissue. All dem was sent through Eric's AC30 (one take with OCD, one take without per guitar) mic'd with an NTK, RSM-4 and a NT-5 for a room mic. Bass was GK + 410 with an OCD providing some grit.

Anyways, Eric was super helpful and professional helping me with all of this, and I tip my hat in his honor.

Saul my usual shit, really. I snuck the DI track in there on the bass for the top end. I never got the thing about using the DI for the bottom- I always got better bottom from the mic track(s). Bigger. The DI has a nice top and/or is useful for distortion though. Here, the OCD really only shows its stuff on the chorus. Cam's really digging in there and it dirties up nicely. NTK for the mic track about a foot back or so. I took a track of the RSM-4, but wound up not using it in the mix.

Re: the drums, a bunch of stuff, to get more than four tracks out of four tracks. The double kicks and the tom fills got their own tracks, along with "smash" tracks of kick and snare, heavily gated, transient-shaped and limited. Beyond that, it's just some automation. I took Geoff's suggestion re: the distorted vocals at the beginning of the last verse and filtered them some; severely bandpassing them made them a little too smooth though,

There's no artificial 'verb on the vocals here at all. I doubled the vocal track, clobbered it with a Waves 1176 (Blue Stripe) on all-buttons-in and brought that up under the main vocal. It brought out the room very prominently and in a very cool way.

The room mics on the guitars (Rode NT5 suspended from the ceiling) I sent to their own buss, compressed the crap out of 'em and hit them with Waves S1 Imager, down about 3-4 dB and set full wide to sort of position them outside the normal stereo field. That's really the only unusual thing I did here. Everything else is all just compression and EQ unless stated otherwise.

...And if I knew there was a band name (or a title) I would have added those in the ID tags for the mp3...

Booya grandma, BOOYA

Distribute your stuff at a GG Allin type show and ull make bank.

What would a GG Allin type show consist of? Do people have to be getting pissed on and raped?

Ya know, I just realized I never told you the name of this song. Which is: Piss Meth Kingpin.

Ha- seriously? That is awesome.

Yes, sir. That chorus line goes: "Good goddamn girl, you've got me shaking just like a piss meth kingpin", which is of course, incredibly romantic. It was one of those things where I said to myself I would name a song that, and forced it to happen, in a maybe sort of awkward way.

The song is about a particularly tiny girl who shreds five string bass... Luckily, the title is deceptive enough and the vocals incomprehensible to the point where nobody that I don't tell should be able to figure it out.

High-larious. And yeah, I have no clue what half the words are, and I've listened to it enough. That's okay though. The "Good goddamn girl" is a solid hook.

Thank ya! My affinity for the phrase "good goddamn" is widely known amongst my IRL friends, so it seemed appropriate.

Actually I suspected it might be about her.

WELL YOU KNOW WHAT, GEOFF? FUCK YOU

I like how the band I am in can make songs without me even having to do anything.

Feels good.

:red:

I am going to cover Hybrid Moments here in the next couple of days. As it is like, 2 riffs and a minute and a half long. You should write new basslines for the song, as the original bass parts practically follow the guitar the whole time.

Or I could continue to let you release material as I reap the benefits.

But there is that other thing too.

I just saw a video of a band that was her, a trombone and a drummer.

That shit was wacky, man.

She had a cool stage presence.

Yep, that's PJ Franco & The Burn Outs, they used to have a guitarist/vocalist as well but he is no longer in the group, and I cannot remember why.. And yus, I enjoy watching her play. She/they were quite fun to see going nuts and whatnot on stage.