Phil Mills

Gretchen's knees were giving her heck today, so I went out to lunch by myself. City Barbecue had dropped a coupon for a free dessert in my account, which convinced me that going there was a fine choice. I had a lovely brisket sandwich that I think had come directly out of the smoker. I had the peach cobbler packed to go and took it home to Gretchen, where we split it, which is a *much* better choice than trying to eat it by myself. :) I also picked up food from Culver's on the way home, which meant that no one had to go out and feed the kids.

I had now arrived at the stage where it was pretty much time to do some recording for the "Crosstime Bus" album or just kick myself in the head. I'm not flexible enough to kick myself in the head, so my choices were limited.

I picked up one of the Universal Audio Sphere modeling mics a while back and have used it on a few things, but I have never used it to mic an acoustic guitar and I wanted to give that a try and see what the results were like. Cleverly, I read the instruction manual before going downstairs. The target song for today was "Love at First Sight", where I had used pitch shifting to move the original vocal and guitar scratch tracks to capo 2 while leaving the drums intact. The scratch tracks had to go, starting with the guitar. I retrieved the lyric sheet from my office, along with my iPad, which I pretty much only use as a Cubase remote. Realizing this, I took the charger along with me. If I'm using the tablet in the basement, it can live in the basement. I also grabbed the guitar and took it to the basement with me. Cool! All set.

Ha! I fire up Cubase and the iPad remote software and verify that they are talking to each other. Ok, let's go to the Apollo unit and turn on the phantom power for the mic. And I need to configure a stereo input to grab channels 1 and 2 so I can route them to the mic modeler and get a stereo guitar track out. Input configured, all good.

I ducked into the recording booth and realized that *nothing* was configured correctly. A dead USB microphone had been wished onto the top of the rolling cart where the iPad was supposed to go. It left. I moved the guitar stand to the opposite side of the room, because I was planning to sit while recording, which meant I needed to pull the cart closer into the space the stand had occupied. And then there was adjusting the microphone. One of these days, I will find a mic boom that doesn't slowly sag under the weight of any microphone of size. And for this application, the mic needs to be turned 90 degrees from the normal position, because I'm using it to capture a stereo image.

While I'm in there, I put on the recording headphones and verify that I can hear playback, having remembered to turn on the headphone amp while passing through the engineering side of the booth. The headphone cord has developed an annoying short, but wiggling the cord gets everything working.

I fire up Cubase and the iPad remote software and verify that they are talking to each other. Ok, let's go to the Apollo unit and turn on the phantom power for the mic. And I need to configure a stereo input to grab channels 1 and 2 so I can route them to the mic modeler and get a stereo guitar track out. Input configured, all good.

Except that there is no signal on the input or the target stereo track. I expect some noise. I twiddle the knobs on the Apollo and nothing happens. Let's go in and play the guitar at it, because maybe I just need some reasonable volume. Nope, no signal. And I realize that the Sphere mic lights up when it is powered. This mic is dark. Grumble.

All of this is more difficult, because I need to be in two places at one time. I have not yet mastered bilocation. I want a noticeable sound source in the recording booth so I can track the signal in the engineering booth.

I have a phone. I pull it out of my pocket, set it to play "Mamma Mia" on a loop, and leave it on my chair. Back to the engineering booth I go. There is still no signal.

Ok, let me pull up the UA Console application that is used for routing things. Unlike the Apollo unit, the Console app believes there is no phantom power to the mic. Power up channel 1, power up channel 2, and -- surprise! -- the mic lights up and I have signal. Make sure the signal is routed from the input to the track and I should be in business. Time to go record!

Back to the recording booth. Close the doors, adjust the position of the sagging mic, check the tuning on the guitar, put on the headphones, press record.

There is no sound in the headphones.

What the heck? There was sound here a minute ago. I check to make sure that the short in the cord is not the culprit and convince myself that it isn't. Stop everything and go back to the engineering booth.

I have a very old silverface Apollo Firewire unit that has a Thunderbolt card installed. Somehow, the mapping that the latest version of the Console software has supplied is shifted by two positions, so that almost all of the hardware is entering in the wrong location. Hardware location Line 1 and Line 2 are mapped correctly, but Line 1 is then mapped again to Line 3, Line 2 to Line 4, and so on. I'm getting sound, because Line 1 and Line 2 have correct mappings, but the software Monitor channels that feed the headphones are not getting any signal.

I remap *all* of the channels on the Console. I *save* the mappings as a preset. I hope this works. In the meantime, I found another set of headphones in the engineering booth, plugged them into the headphone amp, and once I had mapped the Monitor channels correctly in the Console and *then* made sure that everything was mapped correctly in Cubase, I had sound in the headphones again.

Rah.

Unplug the headphones in the engineering booth. Go back to the recording booth, close the doors, fix the sagging mic, check the tuning on the guitar, put on the headphones, and let's hit record. There is sound!

I blow the count in, but there's sound.

After a little while, I have multiple copies of the guitar track, at least one of which is pretty satisfactory, along with two backup tracks to use to fix any glitches.

It would be a good idea to replace the pitch-shifted vocal, which sounds terrible, because it was a scratch vocal and the pitch shifting has done nothing to improve the sound quality. Back to the engineering booth I go to create another stereo track, but I'll use a *different* modeling program here so that I end up with a mono signal that I can plug a number of different types of mic into and see what they sound like. Piece of cake.

Back to the recording booth. Close the doors and now I need to raise the mic so that I can sing standing up and also turn the mic 90 degrees so that it's in the correct orientation *and* convince the whole assemblage not to fall over. This last just requires some minor boom adjustment. Then I put the pop screen back up and now I'm ready to try recording a vocal track.

About a verse in, I realize that I have left the lyric sheet nowhere near where I can read it. Do not underestimate my ability to farble my own lyrics under pressure.

Let's move the music stand so that I can read the lyrics. That's better. I do several takes to give myself choices, but the last one is, I think, pretty good so I can go play with it now. Mucking around with tracks and plugins follows.

I will listen to this more critically at a later date, but it's progress.

A learning experience. That's what we call it.

I packed everything up and went upstairs where I grilled some steaks for Father's Day dinner while Gretchen prepared baked potatoes and sweet corn. Dinner included the kids and was remarkably silly.

And that's a good way to end the day. :)

I am down in the basement today and will shortly (I hope!) get back to working on "Crosstime Bus", which I hope to have out soon. This would be good, because I have been working on this album for a very long time. Long enough, in fact, that the newest song on the album was written in 2006. The track list for this album is on the Filker website, along with the track lists for my other three studio albums and "Live in Germany (mostly...)", which is Gretchen's and my live recordings from when we were guests at DFDF. (Thanks, Smac!)

My question is this: when I am in a position to make another album after "Crosstime Bus", what ought to be on it? Let's toss out anything that is on the five studio albums (including "Crosstime Bus"). Songs that are only on "Live In Germany" are eligible. Songs written after 2006 are likely to be good choices, but maybe there is something older that I have managed to blindly skip over that should be included.

Note also that there are a bunch of individual tracks over on Bandcamp from the "Amy and Me" project which are from concerts where I've been fortunate enough to have Amy McNally accompany me and I think none of those are on a studio album, so if you want to know what some of these songs sound like, it's a good place to look.

Anyway, I have some ideas, but I would be interested to hear what you think.

Thanks for the input!

Today was just a lot of catching up on various things.

Tomorrow, I'm going to go watch a softball game for the first time since I finished coaching. It should be fun!

It is amazing how deleting roughly 150,000 lines of obsolete code will improve the quality of your code base.