Winter Without You (with Shari Archinoff)

I met singer-songwriter Shari Archinoff at one of my meetup groups. Shari plays piano, guitar, sings, and lives in the same neighbourhood I grew up in.

The first time we met, I came up with a simple chord progression on the piano. Shari developed lyrics and a melody for a song about moving on from a relationship with a winter theme. We also threw in a little joke about the debate over the naming of Canada’s national bird. We completed a draft of the song in one afternoon.

Something I’ve been playing around with recently is trying to write in different modes. For the verse, I developed a chord progression in C major, but started the progression on D minor (the II chord). The mode reveals its slightly unusual nature when the G major chord turns up in the verse. Normally, if the song were in D minor, the IV chord would be G minor, but using a G major instead keeps the song in the key of C major, even though it doesn’t start with a C major chord.

A couple of weeks later, I had developed a more interesting chord progression for the chorus and some greater melodic interest for the piano verse part. Shari had completely re-written the lyrics with much greater attention to poetics and melody details.

We performed the song at a Songwriter’s Cafe Meetup in January. Feedback from the group was largely positive, and we ended up taking a suggestion to transpose the song a whole step higher. We found the higher key resonated a bit better with Shari’s voice.

We recorded the final version in my home studio. Shari added some wonderful melody variations to the final chorus.

It was a joy to work with Shari and we’re hoping to do some more writing together.

Nashville-style singer-songwriters in the round

Once again, I attended a night of talented singer-songwriters in a Nashville-style round, where four performers do four songs each in turn. What makes this kind of setup amazing is when the performers backup each other with guitar or harmony vocals.

The performers for the February 9 show at the 120 Diner in Toronto were:

  • Chase Stevens
  • John Chris Ford
  • Bruce Harrott
  • Annie Bonsignore

As before, I took some photos of the performers and shared the hi-res copies with them.

Nashville style singer-songwriters in the round photos

Once again, I attended a night of fantastic original music at the 120 Diner in Toronto. I was invited by two of the performers, Sherry Jacoby and Lora Ryan. The show was hosted by Annie Bonsignore and Roger Beckett from A&R Productions.

The great thing about the Nashville-style setup is the interplay between the artists. In particularly, Augusta Ray lent her sweet country voice to other performers on stage. As well, Paul Malysa prompted the audience for random key words and improvised a song on the fly, with backup vocals by Augusta. It was a fun night and a privilege to hear such talented singers and songwriters.

I took photos of the performers, and offered to share high-resolution copies with the artists.

Relentless Turmoil – Loud Isn’t Loud Enough – mastering work

Last year I was approached by indie punk band Relentless Turmoil to master their latest album, Loud Isn’t Loud Enough. If you read anything about mastering on internet forums and what not, you’ll hear time and time again that it’s a strange black art. For a home studio based producer, it’s supposed to be an elusive task. But like most things when it comes to production work, the devil is in the details. Mastering is also about creative decisions just as much as it is about technical know-how, and most of the moves are quite subtle.

The process depends on what I’m mastering. For a single song, I consider overall tone, dynamics, and final volume. For an album of songs, I also consider sequencing, gaps between the songs, and relative volume between the tracks.

Sequencing and silence

Loud Isn’t Loud Enough is a unique album. Nine of the eleven tracks are full songs; one is a live track, and the last is a track of random “mess-ups.” The entire thing can heard in just over ten minutes. The shortest track is 22 seconds, and the longest clocks in at 1:33. There are great riffs and big energy to almost all the tracks. I decided to let some of the tracks overlap with each other, or leave no silence at all. I wanted to keep the album moving and energetic. The live cut and “mess-ups” track finishes off the sequence.

It’s been a while since I’ve heard an album that serves up a surprise final track. On the 1995 Tea Party album The Edges of Twilight, the final track, Walk With Me, clocks in at 14:20 with a five-minute song, a long silence, and an instrumental outtro. You’d never hear the instrumental bit if you stopped playback after the song itself, and maybe you only heard it if you forgot to stop the playback.

I brought a bit of this spirit to the final “mess-ups” track by adding almost 40 seconds of a buzzing guitar amp sound off the top, at a reduced volume. If a listener heard the album at a low level (who would ever do this with a punk record?), they might not even hear the buzzing and think the album was over, or they’d hear a very faint sound, turn up the volume, and be suddenly assaulted by the screaming band members a minute later. The band loved the idea and the way I did it.

Loud Isn’t Loud Enough

This is punk music. Punk is by its nature loud; like, your amp goes up to 12 kind of loud. Loudness is about more than the final mastered volume; it’s about the dynamic range. In other words, the difference between the loudest moment and the quietest moment in the song. The loudness wars aren’t about the maximum volume as much as they’re about the drastically reduced dynamic range.

Relentless Turmoil was clear in their directive – they didn’t want to squash the dynamics. They wanted the music to breathe with the beat and rock out like a classic punk or rock record. I fully agree with this approach, and I don’t believe you need to overdo the loudness in order to have a great energetic record.

Tone, dynamics, and final volume

I referenced a classic Sex Pistols record to achieve a similar tone for the Relentless Turmoil record. I adjusted each track with a little more “oomph” in the bass and a bit less harshness. The overall tone is warmer than the final mixes provided by the band.

Like the subtle moves to the tone, I also made adjustments to dynamics with subtle settings to overall compression and mutiband compression. For the final volumes, I hit the limiter a little bit harder.

Neither relentless nor turmoil

This album was great fun to work on. I don’t listen to a lot of punk music, but to me, any good music deserves the same attention to detail and care. The songs grew on me, and it’s a really fun album. Take a listen below and name your price on Bandcamp to download it.

Holiday Shopping Spree

Through co-hosting the Songwriter’s Cafe Meetup and Song Talk Radio, I get to meet many singer-songwriters in and around Toronto. Some of them have written original Christmas songs, including Carmen Toth’s This Christmas I’m Giving You Love and Melanie Peterson’s Santa’s Sleigh. Themes of peace and love tend to come up, as is typical of many holiday songs.

Of course, I try to be different. So, I wrote a song embracing consumerism and throwing playful jabs at the status quo of creative types. This is not to say I find typical holiday themes trite or tedious, but I do commend singer-songwriters who put their own special twist on these themes. In fact, it’s a tricky business writing a good original holiday song instead of playing cover versions of well established songs. Carmen and Melanie have done a great job with songs and performances that are sweet, thoughtful, and festive. It’s clear to me that I was inspired by these singer-songwriters to write this song.

Writing and recording the song

I wrote the lyrics over my lunch break one day, and the piano part after work. I did a quick demo recording and presented the song at the December Songwriter’s Meetup. A main critique of my song was that the holiday aspect wasn’t clear until the end of the chorus. I took the suggestions and revised the first chorus lyrics, and wrote a new holiday-esque musical introduction with glockenspiel section. I also took a more deliberate approach to my melody, thanks to some suggestions from my singer-songwriter friend Melanie Peterson.

I recorded a final version, and then set to work creating a video. I spent about two hours at the Toronto Eaton Centre, listening to my recording on repeat and shooting footage of shoppers, interesting sale signage, and the latest big-screen TV’s at Best Buy.

During a Beige Shelter rehearsal, I asked our bassist Tom Kuczynski to record me playing the keyboard and singing the song. Tom’s also a talented photographer and videographer. I then edited together a quick video.

All in all, this was a quick and fun writing and recording process, with a push to get it done before Christmas. It’s amazing what you can pull off when you have a hard deadline to meet.

Lyrics

Your new greeting card
Peace and love for the holidays
I say good fortune for all
And dollars to spend on sales

You wrote that song
The evils of materialism
Give away half your guitars
To the needy and poor musicians

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Always preaching moderation
Credit cards gotta stay at home
Support your local economy
Don’t be a consumer drone

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Get what you want
Not what you need
You’d better like
What you got!

I only wanna spend
Christmas with you
Binge watching on Netflix
On my brand new
75-inch, L.E.D., 4K HD, and 3D
Smart TV with 1000 watt, 5.1 surround sound

You know what
I like my stuff
Makes my life easy
You know what
It’s never enough
Holiday shopping spree

Live music photography

I recently purchased a new medium telephoto lens for my camera and put it to the test with photographing a couple of live music events. I enjoyed a “songwriters in the round” event at 120 Diner in Toronto. I already knew three of the performers, and got to meet and hear several new ones.

Beige Shelter was playing a show at Skeaky Dee’s, and I took photos of bands The Thick, The Cashews, and singer-songwriter David Dino White. For this show, the stage was bathed in a very bad blue light, so I converted the photos to black and white in post-production.

For another Beige Shelter show, I took photos of supporting acts Brian Sasaki and Wilson & The Castaways. The show was a great success at the Amsterdam Bicycle Club in Toronto.

The new lens is great for capturing sharp photos in low light. I find the keys to great photos on stage are using spot metering and adjusting the focus point as you shoot. I like to capture high emotional moments in the performances and where possible, get them with their eyes open. Framing with odd angles also adds a cool dynamic.

Beige Shelter – Rumours we make, Paths we Take production

I first met singer-songwriter Adi Aman, aka Beige Shelter, at the Songwriter’s Cafe meetup. He appeared on Song Talk Radio in 2014. His songs instantly appealed to me for their 90’s alt-rock inspired style, and his often spiritually deep lyrics. On Song Talk Radio, I recall commenting how his songs are actually about something.

Last year (late 2015), Adi contacted me with a request to have his songs produced as an album. We had a brief meeting during which I got to know Adi a bit more, and really saw his personality as a generous, people-loving individual, and how that shone through in his songs. We came to an agreement, and began work shortly thereafter. The plan was to produce 12 songs for an album.

Adi would send me his demo recordings, along with lyric and chord sheets. For most recordings, I would set up a session in Sonar with a simple drum loop (of my own creation, of course, since I am a drummer). He would then come over and record guitar and vocals to the beat. Often he would ask for extra “guitar licks” tracks and/or vocal doubles.

The producer brain

For some of the songs, I would make melodic suggestions for the guitar licks, or arrangement ideas for when to include instrumental breaks. I also added drums, bass, piano, strings, and other instruments using my keyboard and MIDI. Of all the aspects of producing, I enjoy this arranging process the most. It takes a careful listen to each song, finding creative ways to supplement the original performance, and at the same time, taking it up a notch. My piano and bass parts were often quite understated, providing a foundation for Adi’s performance without overpowering it. I think this is a key point for any successful production.

For one song, Midnight, Adi had written a lovely arpeggio pattern on the guitar for the intro. The rest of the song rocked out. I suggested a break in the middle where he would repeat the intro pattern at tempo. This served to open the song up and provide a breath before the final chorus.

Adi had a neat riff and chord progression for a song, but no lyric. We worked together as I made chord suggestions (on piano) and a key shift for the bridge. Adi worked out lyrics about racial diversity and inclusion, with some tweaks from me. We share the songwriting credit for Colours.

For Who I Am, Adi had written it as a medium-tempo guitar rocker with harmonica. He wanted to try it out as a piano ballad, so I took his chords and developed a piano, strings, and drums arrangement. We had to re-record his vocals, as the rocker style didn’t really fit with the more ballad-esque piano arrangement. We also forewent the harmonica in favour of a cello solo. I think this song helps to open up the variety on the album.

Adi wasn’t entirely happy with his song EdenI made a suggestion for chord changes in the chorus, which opened up the song to sound bigger. Interestingly, this song is almost entirely comprised of major chords (only one minor chord). In some ways, it’s my favourite track on the album, as it has elements of progressive rock.

Mixing, mastering and fine-tuning

I spent a lot of time going through each song with a fine-tooth comb, fixing notes in the MIDI tracks and tightening up the timing. For some, I used a fixed tempo grid to quantize all the tracks, and for others, I used Adi’s guitar recording as a tempo map. Since they were mostly recorded to a fixed drum loop, they were fairly consistent, but minor tempo variations still occur, and sometimes it’s better to embrace them rather than forcing them to fit a fixed tempo.

I also mixed and mastered the songs. I wanted punchy, clear drums and bass, and forward vocals to ensure all the lyrics were well heard. My new best friend became Native Instrument’s Transient Master.

Ironically, the sonically simplest song, She Now Flies, presented the greatest mixing challenge. It’s actually easier when you’ve got 6 or more instruments in the mix, with guitars, piano, bass and drums, than mixing a song with only guitar and vocals.

For the mastering process, I suggested to Adi that we each come up with a sequence for the album, then compare notes. He then arrived at a sequence that was a combination of my list and his. I made minor tweaks to the EQ of some songs, and applied the final volumes. There’s some finesse here too, as I didn’t want the softer ballads mastered to the same volume as the rockers. Hopefully someone out there still listens to complete albums!

The paths we take

Before we even finished the album, I was accompanying Adi on percussion for his gigs. Since then, we’ve roped in a bass player and lead guitarist as well.

It’s been an absolute joy working with Adi on this record. He had a very balanced approach to owning his songs and being open to suggestions for changes. As the producer, I would always take the approach of allowing Adi the veto power, to reject any suggestion I made. As it turns out, he took most of them. You can’t be too precious about your ideas, and understand that the vision for the record should be the artist’s, not the producer’s.

Listen to the album

 

The generosity of Don Campbell

My singer-songwriter friend Jeff Greenway invited me to a BS Fridays  music showcase at the Cameron House in August. I was pleased to also see Melanie Peterson‘s name on the bill. Melanie is also a friend and a very talented singer-songwriter.

All of the performers were unique and talented, and one singer-songwriter, new to me, really impressed. Don Campbell‘s performance had a great rock energy, and his songs were catchy and well written. I introduced myself to Don after his performance, and told him about Song Talk Radio. I also purchased one of his CD’s, Sail the Grateful Way. I took a cue from another fan of his and had him sign the album insert with a generic personal message like “Neel, thanks for the support! Enjoy the album.” (You can’t expect a personal message from someone you just met.)

After I got home that night, I realized I didn’t have his CD with me. I must have left it on a table at the venue and neglected to put it in my bag satchel man purse messenger bag. I immediately messaged Melanie, who was one of the event organizers, to see if someone perhaps turned it in to her. No luck.

The next day, I contacted Don on Facebook and conveyed my woes. Don was very understanding, and graciously offered to give me a free replacement CD!

It took some back and forth, but last week we met for coffee and Don gave me another CD, again signed with a generic personal message. We shared a great conversation about performing, songwriting, and other stuff.

As for the person who snatched up my original purchase, you got some great music for free. And every time you open the CD you’ll see my name and remember what you did.

Thank you Don for your generosity!

Don Campbell CD signed personal message

Music Event Flyers

I designed a few promotional event flyers for music shows in Toronto. Deadlines were very tight, and I provided files suitable for both printing and sharing on social media, including banners for the Facebook events.

I Never Write Her a Song

My wife asked me why I never put her in a song, or one of our experiences, into a song. Good question. After much pondering, I thought it might be good to go all meta and write a song about how I never wrote her a song. And of course, in keeping with the meta element, by the end of the song, I realize I DID just write her a song.

I started with the chorus lyric and melody, defining the hook with a simple chord progression on the piano. Lyrics and the rest of the chords came after that. I also employed chord substitutions in the verse progression and as a transition from the second chorus to the bridge.

All in all, it’s probably the pop-iest song I’ve ever written, and some of my friends helped me out with a live jam of the song too! I also appeared as a guest on Song Talk Radio where the song was reviewed, including a mini-domestic disturbance with my wife who was on the radio with me!

It’s like we’ve been together for a million years
And I guess we’ll be together for a million more
But in all that time I’ve never smiled or shed a tear
And I never let my feelings out for show

She said I never write her a song
She’s right, and I’m always wrong

Now I’ve got a yearning stirring deep inside
Or is it just because she asked out loud?
Will I take pen to paper, and write it right?
Or choke up and admit, it’s all a fraud.

She said I never write her a song
I could do it, but it might take too long
She said I never write her a song

Maybe all she wanted was a love song
All mushy lovey dovey and googley eyed
But somehow I know she’ll get it
The kinda love that comes from her clever guy

She said I never write her a song
But look here, her song is now done

She said I never write her a song
Now she knows her song’s all for fun