Oh shit, but I just realized that's not even the right one. That part comes as a batshit sort of change after the riff I am talking about. It is a saucy swingy sort of one that goes Bmin-Dmaj-Bmin-Dmaj-Bmin-Dmaj-Bmin-F#maj. I've no recording of it.

This is the sort of gloomy singer-songwriter shit I can get behind. Also, something- maybe the production? makes me think of Charles Manson's record from the '60s. I mean this in a good way.

I don't know, i either need some quiet drums in my room up here, or i need to be way less lazy about setting up mics in the basement for my real drums.

Thumper.

Quiet drums? I'm assuming quiet is a relative term. But yeah- I can hear that with your sort of busydrumming. I can hear that working. Also: your bass sounds very agitated. It feels very strongly about something, and wishes to make its opinions known.

Yarr, i mean like an electrokit. I can't really set up real drums up here. Aside from space concerns, the groundfloor/upstairs portion of this house has very low soundproofing qualities. As it is, when i play my drums in the basement it sounds like i am playing at the top of the driveway(letting someone else play the drums while you walk around the house to see how loud they are is something you should never do if you are a self-conscious type of drummer).

It is just, i can't leave the basement mic'd up because i need the interface up here. And when i am struck with the desire to record, i am no longer allowing myself to spend almost an hour setting up microphones and moving interfaces and computers into the basement first. Basically, if the system/setup can't get me recording quickly, then it isn't going to work.

But i am getting weary of the pseudo drums on all of this stuff. And i was really not happy with my MIDIdrum experiment. It takes longer to program even simple drums than it does to set up the microphones and shit. I found it to be totally the wrong kind of brain use for when i want to record something.

And yeah, that bass does sound pretty burl. It is funny, because that is just about as normal/simple as it can be. Straight into the interface mic/line in. No EQ or anything, just a limiter and TLs saturated driver. I probably don't even need the limiter. The saturated driver slams the shit out of things. And makes a nice fuzz pedal of them.

Part of the bass sound, it is worf noting, is probably an illusion also, as the tapped MXL "kick drum" just goes straight eighths through the whole thing. Which certainly makes the bass more punchy. Though, the soloed bass track also kind of sounds more or less like that. It is definitely played caveman style, and wif a pick.

I thought there was something hiding under the bass, but I couldn't quite place it.

I'm wondering, though, if sampled drums might be too polite for your porpoises? At least it would give you something to work with, though, and I suppose you could always replace it later?

I don't know what your computer setup and mic collection are to venture a guess at a workaround that would require minimal transportation of gear to keep the kit miced up. Ideally, with enough mics and any random shitcomputer that'll serve for tracking, you could get it down to moving just the interface and attendant PSU/cabling. Of course, leave cable ends labeled, and gain settings as well. If it's not a fixed emplacement where you'd have to de-rack shit or move a ton of gear around, you could be up and running in a couple minutes. Everything else would have to be arranged to accomodate that though. And if there's mics that pull double duty- as I'm sure there are- you'd be best served with stands and cabling for them in both locations. This probably requires spending money on very unsexy gear. Stands and cabling are never sexy. (Waiting for someone to prove me wrong here.) It could probably be done with minimal hassle, but it might involve expenditures and basically requires an extra computer sitting around doing nothing.

Yarr, i was hoping to be able to have the Alesis mixer with like 4 mics set up all the all the time downstairs and just have to snag the laptop to record, but that thing seems to be cranky lately and the firewire connection seems unwilling to maintain sync anymore.

One thing i might look into, after tax time(which is going to be expensive for me this year), is getting either a second US-1800 because i like it a lot, or possibly just getting a simple 2-4 input usb interface to use upstairs where i do most of my tracking with at most 3-mics-at-once. Then i could just leave the US-1800 hooked up and RTG all the time, and it is just a matter of grabbing the laptop and its psu and plugging it in downstairs. Ideally, i would like a whole separate system set up down there, but with my expected coming über-brökeness, it is simply currently unfeasible.

Stands and cables though i have plenty of, mainly from recoarding bands. I think i have ten stands and twelve or so mic cables? I only ever need about one upstairs. And if i am not live-mic'ing two guitars and a bass, that means that i have about three stands free anyhow.

And sampled drumz isn't so much the problem, as it is the fact of setting them up/programming them, which is to my brain as a bad drummer, a bass ackwards way to put beats to things, and has never for me personally, resulted in anything audio that i felt should be kept. It is just the wrong type of thinking for me when it comes time for drumbeats. Sonically, i could always make them sound however i wanted. I mean, right now, i am using a pitch-shifted guitar pick scraped across a microphone grill for a snare sound, so really, i am not too concerned about being able to make actual drumsounds work. I just don't want to program the fucking things. Or, like, play my toons in time/tempo, anyhow.

Title is appropriate. What's going on with the guitars here? I take it there's a little more than mapdistortion happening- that's some abrasive shizzle. (Also, the really high feedback squeak at 0:46? That's cool.) Let me guess- more mic tapping for percussion? The demented '60s vibe is as strong here with the 'lectric material as it is with the rest.

Feedback is just two tracks of moving around with the tele going through CrowtherHotcakeClone+DODdefmetal+TimmyClone+BehringerReverb into Crate GX15 into homemade pine 1x12 cab with the cheapest Crate 12" speaker evar. Then a bit of EQ via Reaper ReFIR to make more obnoxious on the high end.

Aslo that mic, MCA SP1, is run kinda clipping-hot into the interface. Then i think it has some TLs Saturated Driver on it too.

All of the squeals and such are just real-time too-many-distortion-pedals-hooked-up sorts of noises.

All drums are microphones. Because i am continuing to be real fucking lazy about setting up microphones in the basement.

The reason i am using the Crate GX15 though, is that i moved my real amp into the basement. Hopefully that is a sign that i might sack up and set up the drums as well, down there, proper, sometime soon?

Now, this is a bit of a different vibe. Darker, for one, and drier. Having pretty solid percussion throughout gives it a different feel for sure- with the textures of the distorted acoustic- the attack, specifically- and bass, it's almost... Industrial-ish, but without the synth/programming aspect- mechanical, but like a busted-ass old hand-cranked machine. Maybe a bit Waits-y in terms of texture. I'm digging this one a bunch.

I take it the percussion here is not tapping on the mic grille? There was an actual physical object mic'd up? Maybe even struck with a drumstick?

'ts the back of an acoustic guitar. The bass is the side of my fist, and the treble is my other hand's fingers, nails down. That is just the MXL2001 for that. Duplicated the track, highpassed one copy, and lowpassed the other, and gated one with snare settings and and one with kick settings, so i could adjust the relative volumes a little. EQ'd a each bit to pull out interesting resonances, so it sounded a little bit less "the back of an acoustic guitar".

It almost sounds like bongos to me. Which kind of made me want some cheap bongos. To play through a distortion pedal. Maybe i'll get some if i make it through tax season with anything left.

Actually, it might be fun to break/destroy the sound of a djembe. I wonder how expensive those are.

Aslo, i really enjoy the idea of that sort of thing. Meaning, the sort of thing that is like cave man industrial. Which actually, as i think of it, is probably also my favorite aspect of the way tom waits seems to approach noises.

I really like the idea of not-really-danceable-by-modern-quantized-standards, dance-ish music. Particularly of the more industrial or even slightly violent-edged variety.

A human-cranked drum machine of questionable/inconsistent rhythm/tempo, and existing in a state of relative beat up but mostly-functioning antiquity, would be absolutely perfect.

I like the contrast of the title with the music. The sound at the end makes me think of a cassette machine being turned off.

Dude, this newest one is 100% fucking fantastic.