Tag Archives: studio

20 Years of Wonder (Part 1)

Here’s what I remember… or what I think I remember.

In the Spring of 1998, I agreed to record guitar tracks for Katie Reider’s budding new album, “Wonder.” I was given maybe three songs to work on, and turned those out in about a week, casually, around my work schedule.

Summer happened, and no more progress was made on the record. I waited, but there was no deadline that I knew of, no money being talked about (I had agreed to record it as a favor), and so I didn’t press. In the meantime, I had named my little dank studio space, “The Coal Room,” and printed out track sheets to document my progress on assorted projects. I kept these in manila envelopes next to their respective studio tapes. That was how studios worked in the late 90′s, friends.

What of the 90′s studio technology? Well, I had an Alesis ADAT tape machine. It recorded 8 tracks of digital audio onto a Super VHS cassette. Yes, really. And they were modular, so you could link multiple machines together.

As was common practice with such gear, I was given a tape with a reduction mix of Katie’s scratch guitar & vocal, along with Josh’s drums. I had seven remaining tracks, so I put ideas onto each one. I made a point to put one stereo guitar-part (two tracks) on each song. I deliberately got slightly weirder than seemed appropriate, and I figured they would use what they liked, and dump the rest. They kept almost everything.

The MIDDLE of October arrived. Frantic, my old friends Josh and Tyler called me in a tizzy, desperate to see if I could hastily bang-out the remainder of an album’s worth of original guitar music in a few days. I agreed. They were mixing the first three songs when they handed the next tape over to me.

Three or four of the next songs were on that ADAT tape. I recorded those as they mixed the first three. Then I met Tyler in my employer’s parking lot one afternoon, and handed him the tape I had finished the previous night. He handed me the next one to start on. I think he was awake for three or four straight days. I imagine this was what he felt like.


I finished the next two or three songs that night and perhaps the next day. It must have been a Saturday. Or maybe I took a day off or something. Anyway, they were literally mixing songs 4,5 & 6 while I was recording 7,8 & (Row) 9. 

I remember Annette calling to me that it was time to take my little twin daughters out for their first Halloween Trick-Or-Treat. I was wrestling my way through one of the songs. I think it was “Show Your Love.” That would make sense, if it was one of the last ones.

At the time, I had no idea that I was going to end up in the band, nor did I know if the band was going to have a name. Assuming no one would ever see or care what these sheets said, I made up funny (to me) names for th band on each song.

I found the old track sheets a few years ago, in a stack of old music paperwork, and scanned them in. If you’re interested, you can take a look at what I was calling those parts as I was thinking them up.






If this sort of thing interests you, feel free to ask me what any of this stuff means.

It occurs to me that these track sheets are in perfect time sequence to all be on a single tape.  I wonder (pun intended) if they gave the tape back to me to work on. Maybe they added more stuff to it between Spring and October.

In any case…

Conspicuously absent are the track sheets for “Show Your Love” and “Shaken” (maybe I handed them off along with the tape, for the mixing process). Those were both difficult songs. I wanted to use a wah pedal on “Show Your Love,” but mine was broken, no one I knew had one to lend, and there weren’t any stores around for me to get one quickly. So I used an envelope filter, which does something similar, but automatically.
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I didn’t like it, and ended up changing how I played the song live. Much of my challenge was to keep the song from sounding like “Sweet Home Alabama.”

“Shaken” stumped me. I didn’t know Katie at all, and so I sent her a very hesitant and polite inquiry, asking if she could tell me about the feelings behind the song. I didn’t want to pry into anything too personal, but I had no musical ideas (which is unusual for me). She responded quite graciously by saying that she had been left feeling “sour” in the wake of a failed relationship. I really seized onto that word: SOUR. And so I becan constructing the arrangement of “Shaken” with lots of dissonance and tension and chaos.

I remember that I discovered a really cool tone by putting a microphone on the BACK on this old amplifier I had (which has now been broken since 2004). I recorded a bunch of parts for “Shaken” with that sound, and when I was finished, they all jumbled together into this sonic mess. The clock was ticking, and I couldn’t re-record. So I used my SansAmp pedal, and bounced some of the guitar-tracks through it, and re-recorded that changed tone. It worked!

Next: What the recording process looked like. Stay tuned!

REVIEW – Avid Eleven Rack

 

Guitarists, I have good news, and I have bad news,,,

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In early March of 2018, I bought an Avid Eleven Rack for my studio. I had been using my POD Pro 2.0 for quite some time, with results that fell mostly into the “I suppose that is OK” category, and I spent a lot of time processing tracks (EQ, etc) to get them there.

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I was headed into ankle-reconstruction surgery, and wanted something to inspire me back into music creation while I recovered (experimenting with new gear always helps). Yes, I knew I wasn’t going to be able to walk for a long time, but I was unprepared for how much NOT sitting upright I would be able to do (had to keep my foot elevated). I’ve done far less recording than I had planned to do this year, but I HAVE done some, and solely with the Eleven Rack (henceforth “11R” for brevity).

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The good news is that this has been a fantastic experience.

The first evidence I’d like to share is three songs I recorded for my friend Todd Gilbert in the Flint, Michigan area, for an album of covers. This seemed like a perfect test for the 11R- sending the product off to a collaborator., and comparing them to known, published works.

The three songs I recorded were Huey Lewis’ “Bad Is Bad,” Billy Joel’s “Laura,” and Hall & Oates’ “Out Of Touch.”

BAD IS BAD

“Bad Is Bad” was the first one I recorded. The original recording is an 80′s nod to a 50′s vibe, and the production (while pleasantly nostalgic) does not stand up well. So I built the whole thing around a swaggering Telecaster riff. The 11R transmitted my sound with both girth and clarity- clarity I always found lacking in the POD Pro. Through the whole song I recorded a lot of solo ad-libs on an old Electra Invicta, allowing Todd to pick and choose which of these he wanted to keep. Then, I recorded my Jazzmaster throught a Leslie patch I either found or edited-together on the 11R. It sounded as good as (if not better than) most good Leslie simulations I have heard. Finally, I played a slide solo with the Telecaster. Usually I reach for my old Marshall JCM800 combo for this task, but the 11R did the job exceptionally well.

 

LAURA

“Laura” is a pretty close approximation of the original arrangement. I’m not sure what was really used on the recording of the original solo to give it that sound… but I just double-tracked it. All those electric guitar licks are my Telecaster. Since Billy Joel was clearly channeling The Beatles, I donned my George Harrison cap, and played the chord-changes with an electric 12-string (a mid-2000′s Fender Stratocaster XII). All of this was done with the 11R, straight in to my interface, with one exception- there is a swirly modulation phrase at the end of the solo, where I ran out of the 11R through my old Quadraverb.

 

OUT OF TOUCH

Finally, “Out Of Touch” came across my desk. Todd had envisioned a straight-ahead rocker, so I played an 8th-note chugging rhythm on the Invicta, and then added a double-tracked arrangement of the Telecaster playing some Alex Lifeson type arpeggios and minor 7 stabs. I dialed-in an obvious Van Halen inspired patch for the solo (complete with phaser) and recorded that on the Invicta, as well as a double-tracked slide part (without phaser). Then to give it all some more growl, I added a fuzz track from my Jazzmaster.

The bad news is that I might not need all these amplifiers anymore.

Summary:

The 11R is a great comprehensive tool for guitarists in a studio setting. you can choose from a variety of classic amplifiers and speaker cabinets, a decent array of effects pedals, and even a small but respectable batch of standard top-shelf studio microphones. Each piece of the signal chain distinctively interacts with the next, and then responds accordingly. Once you understand the editing navigation, it is easy to bounce through settings and dial in a tone. It’s not the sort of thing I would use live (ask me again in a few years), so I cannot speak to that application.

I found it a little noisy, to my surprise. This may have something to do with how it’s connected to my rack, but then my POD Pro is comparably dead silent. To be fair, the noise is no more than the line noise of an old amplifier, but this may affect certain quiet passages of recordings. I was able to filter it out well enough with some standard DAW plugins.

Now that the 11R price has dropped to $299, it’s a safe and sensible investment. ProTools users can use it as a virtual instrument, record guitar tracks direct, and process them through the 11R afterward. I use Reaper, and I suppose there’s a way to do this, but it isn’t really how I like to work.

It has quickly become an easy go-to choice for me. I’m pleased with the purchase, nearly six months later, as well as with the end results of the handful of recordings it’s been featured on. Would definitely recommend it. Calling this one a strong 8/10, with the only complaints being noise (admittedly could be due to ignorance), and an interface that required reading the manual to be able to operate.

 

 

Ten Years Gone

Twenty years and a few months ago, some friends of mine asked if I might record some guitar tracks for a young girl named Katie Reider. She had about an album’s worth of material, and with their help, they gotten it to where it was a few electric guitars away from sounding like a real record. Well, I added those very guitars, and that record ended up being called Wonder.

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In just a few actual evenings (which were spread-out over the course of several months), I managed to record eight of Wonder’s ten songs. I never expected anything to happen with it, really. I thought, maybe, in a year or so, she might have sold enough CD’s that, if all went well, I might get $100.

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The album was a local smash. We won a bunch of awards, we were on the radio, and in the papers. My guitar students thought I was famous. Overnight, I became the guitarist in one of the most popular bands in town. I had arrived. Image result for yatta

 

There were highs and lows, but in fairly short order, I was the only original band member. Katie and I had no choice. We became the best of friends, confidants, and musical partners. The next couple of years were great. In 2006 everything suddenly caught fire. I was convinced we were just a few yards from the proverbial touchdown. Then she got a toothache.

Only, it wasn’t a toothache.

It was a horrible monster, and it destroyed my friend.

 

My first gig with Katie was at Taste Of Cincinnati in 1998. My last gig with Katie was at Taste Of Cincinnati in 2007. The next year, she was gone. That was July 14, 2008; ten years ago.  This was how she looked at our last show together.Image result for katie reider wonder

When 2018 started, I was aware that the ten year echo of her passing was coming. Led Zeppelin’s “Ten Years Gone” has always been one of my favorite songs, and I thought it would be a fitting tribute. Robert Plant wrote it about an old girlfriend, so it doesn’t quite fit, but the music captures the feelings, I think, of a yearning for a time in the past with someone dear. Also, no one knows this (until now). When I was recording Wonder, I felt a tremendous pressure to accomplish something special. When in doubt, I would ask myself, “WWJPD” (What Would Jimmy Page Do)?

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“Ten Years Gone” is a fantastic anthem. One of my favorite discoveries about it, once I dissected the guitar parts, is that, apparently, I record layered guitars rather a lot like Jimmy Page did on this song.

Fitting, right?

Anyway, I know Katie would love it, because she loved the music I made. This is for Katie. But also for me.

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The goings-on of May

There are several creative-type things I like to do.

It may have come up in conversation that I play guitar a little.

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I’m hilarious, aren’t I?

I also sing a little, write songs, record & music. I’m a decent audio engineer and editor too. Sometimes I do voice-over work, or commercial production. In the past, I have done some acting on stage and screen. I tinker, a tiny bit, with video and graphic design/presentation. I write, and I think I have two novels in me, but I’m reluctant to put any energy toward them.

So when I write, it’s usually in blog form, which takes us to this writ.
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Being a classic ADHD (not so much the H part) sufferer, it’s difficult to focus on something unless I can HYPERFOCUS. Get me working on any of these creative exercises, and I can lose a whole day.

At the end of 2017, I shared a fairly large pile of recordings with the world, which I put on my website, and called “The Sincerest Form of Flattery, Vol.1” These are just cover songs I recorded for fun, to share with friends. Obviously, the name implies that there are more to come, and I truly intend to do so.

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Ouch. Yeah.

Realistically, it’s May now, and I haven’t put much energy towards those new songs yet. Getting back into creative music mode in the studio has been a hard engine to start. I’ll blame ankle-surgery, but there has been a fair amount of binge-watching Netflix and Amazon Prime Video.

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So whilst I’ve been putzing around…

A friend of mine who lives afar had mentioned several times in the past, that it would be fun to work on a music project together. Well, he popped the question, and I accepted. So, even though this is a very busy (and tired) time, I forced myself to sit down and ride the music wave last night. The hardest part is swimming out into the proverbial ocean. So I swam, and I listened, and I thought a slide guitar might be a nice interpretation.

Two and a half hours later, I came up from the depths, to get a breath of air.

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Whoa.

It’s fun to be back in the saddle, making music for someone -even if it’s just one song- again. How nice to shake some of the rust off of my modest (at best) slide guitar skills! Of course I used my Telecaster. Of course I did! Well, the intonation on it is all out of sorts, the strings are old, the volume pot is busted, and the whole damn guitar is noisy. Of course I used it anyway.

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I finished a basic rhythm track (which may have been unnecessary) and a slide solo, and threw some ad-lib slide parts here and there. I will probably do some better ad-libs later. Then I get to do some studio singing, which I haven’t done in like six months.

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On the periphery of all of this, I’m now performing somewhat regularly in an acoustic duo called The Mood Rings. We keep getting gigs offered to us, and having great ease booking new ones.

A few years ago, I was frantically busy with music stuff just to keep my name recognizeable, and my income steady. Now I get to do it for fun and inspiration.

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I wouldn’t change a thing… except that I’d like to be performing with an electric guitar a little more.

We’ll see what the next half of the year brings.

What’s your creative outlet? Do you do it because you love it, or because it’s an obligation?  If you could do something else, what would it be? Do you create because you love creating, or because you want recognition/fame/money? ‘Fess up.

THE SINCEREST FORM OF FLATTERY

Many years ago, I cobbled a makeshift studio space together in the old coal room in my first house’s basement. It was a 6′x11′ room, scarcely larger than a closet, with only an approximately 6½-foot high ceiling. Some of the earliest professional work I did down there was with a “boom box” as my studio monitors. True story.

It looked like this:

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At some point, Cream’s White Room got stuck in my head. So I started a demo recording of it. I have no idea what ever became of the project. Yes, I definitely remember programming it, recording parts of it, and even dumping some rough mix onto a cassette, along with what were some new (back then) original songs. It just didn’t survive.

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A few years later, I made a huge gear-upgrade purchase, and to test out my new gear, I created a few percussion loops, and recorded myself singing Van Morrison’s Moondance with some simple instrumentation. I had gotten the idea from hearing a much better singer do a much cooler version. Little did I know, but I had just snagged myself on a hook that would sink insidiously deeply into my psyche.

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Fast forward a bunch of years. In the interim, I have recorded hundreds of songs for different clients, and dozens of my own songs as well, not to mention different commercial projects, voice-overs, etc.

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I got this regular live gig, which I ended up really hating (it paid well). After a few cancellations, I had all this pent-up creative energy. So I solicited my Facebook friends for requests, and began recording cover songs with only one microphone, acoustic guitars and hand percussion.

It was more fun than I had thought possible.

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A few of those songs, over time, grew up into larger productions. Eventually, I just started tackling big cover song productions of songs that “clicked.” I can’t describe what made a song click. It just did. Somehow I knew I could do it. In other cases, there were requests that I fulfilled for other people.

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Anyway, after collecting these finished works for a while, it appears that I have a batch, a volume. Call it “Volume One.” There are certainly more in the pipeline.

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They won’t be ready for a while. In the meantime, enjoy what I’ve done so far, HERE

http://davideberhardt.com/html/sincerest.htm

 

Breaking With Conventions

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We can call this the “Probable Last Blog of 2017.”

I used to get very serious around this time of year. Some of that was stress or cynicism, maybe part of a youthful desperation to be cool. That’s all long past. Now I simply enjoy the opportunities for merriment and lightness. So if you’re looking for something deep and/or meaningful. it ain’t here. :)

So…

Lately I have been busily replicating or re-inventing cover songs (the choice of song is pretty random). I enjoy the challenge of trying to exactly replicate an arrangement; finding the right sounds, playing the right notes, etc.

Changing a song is easier in some ways, since matching the original is already an ethic that has been discarded. However, changing a well-known song is a huge risk. Well, I like risks.  In fact, here I am with my brown pompadour and matching tie/pants emsemble, cheerfully hastening toward risk.

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As Christmas careens recklessly around the corner from Thanksgiving and heads straight at us like a windshield towards a bug, I start thinking about working on Christmas music. This of course, is way too late to achieve results.

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So I started earlier this year. Actually, I started LAST YEAR, and just casually refined and finished them this year.

The first is “Away In A Manger,” which was recently described to me as a boring carol that could never be redeemed. The next is “Children Go Where I Send Thee.” Over the years I have voiced my low opinion of turning hymns and Christmas carols into ROCK SONGS. So you may hereby enjoy my admitted hypocrisy.

This is approximately how I looked while recording, except that I have way better guitars, a taller tree, and my recording space may never be this tidy.
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For “Away In A Manger,” I wrote a chanting sort of chorus to break up the cloying verses. I had hoped that my church’s creative team might like to see the band work this up, but they just sorta sat there looking uncomfortable.

Me: “Hey guys, I worked up a rockin’ version of ‘Away In A Manger.’ I think the band could do it. What do you think?”

Them: …

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Had I known they were going to balk, I might have done it in a higher key (the music director is a baritone). That said, the guitar riff works a whole lot better in this key. Maybe it’s just not that good. In any case…
Here’s “Away In A Manger.”

Moving forward…

“Children Go Where I Send Thee” presented some challenges. First of all, it goes on FOREVER. So I abbreviated it, added a modulation, a Pink Floyd flavored guitar solo, some Queen-flavored harmonies, and threw in a little joke as the numbers count down. Enjoy the hilarious levity.

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Here’s “Children Go Where I Send Thee”

 

How do you break out of creative conventions? What do you think of my silly little Christmas experiments? How do you creatively cope with the assorted holiday vibes? Feel free to share your thoughts.
~See you in 2018~

 

End Of The Innocence

OK, It’s official. I’m getting old. If nothing else, I can tell by the aches and pains. I wasn’t always achy and slow-moving. That seems to have crept up rather suddenly. Well, it SEEMS sudden, then I start doing the math, counting the years, and considering the mileage this ol’ body of mine has endured. Hand me that bottle of Alleve.

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Back in 1989 (which seems like just a few years ago)I was working in a restaurant part-time, and plodding through school at the University of Cincinnati.  That summer, Don Henley (of The Eagles) had a big hit with End Of The Innocence, which I heard on the restaurant Muzak several times per day. I enjoyed the song, though I had trouble hearing the lyrics over people asking for drink refills and waitresses grabbing my ass (this was not okay).

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I honestly thought the whole song was a poignant recollection of when ol’ Don lost his virginity (remember, I couldn’t really hear the lyrics). Seriously, I thought he was singing, “Offer up your fancy dress” (it’s, offer up your best defense). Regardless, I liked the music, though I didn’t really care much for the presumed kiss-and-tell lyrics. Not classy, Don.

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Turns out, it’s some political gripe about Ronald Reagan, written by Bruce Hornsby (the guy who played piano in the 80′s like John Popper played harmonica in the 90′s). I jab, but I loves me some Bruce, and John, and Don.

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Nostalgia? Well, yes. I vividly recall driving out to Virginia Beach later that summer. Somewhere in the last 50 miles of the trip, the outside temperature cooled, and I turned off the AC in my silver 1985 Honda Civic hatchback (I had named it “Dennis”). I rolled down the window to enjoy the evening air, and ejected whatever cassette was in the stereo, to listen to some local radio. On came End Of The Innocence, without restaurant chatter, pinchy waitresses, or other distractions. I got the gist that it probably wasn’t solely about Don Henley getting laid. That moment with that song on the radio sticks with me to this day.

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^ Side note: This is exactly what “Dennis” looked like.  ^

Anyway, that’s a long-winded tale of yore. Years have passed, and I still like that song in spite of the fact that it’s complaining about a president who had already left office.

A few short years ago (really), I had a summer gig playing at a neighborhood pool. It was hot and brutal. No one cared that I was there, but I got paid pretty well for it. After a couple of abrupt cancellations (a thunderstorm and a community parade, respectively), I solicited Facebook for some acoustic requests. And then, for a month, I enjoyed recording and sharing acoustic renditions of popular songs with my friends. There were many of these, some of which have blown up into larger productions since.

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One such request came from my sweet wife. Strangely, she requested End Of The Innocence, not knowing anything about the grabby restaurant girls, the drive through Virginia, or my complete ignorance of the political subject matter. So what do I associate that song with, today?

Wife.

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So I dug up that song and tackled it again recently.

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Age? Nope. Restaurant? Nope. Waitresses? Nope. Virginia? Nope. 1989? Nope. Politics? NOPE.

Song for Nettie? Hell yes. Here ya’ go, Babe. I love you.

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© 2017, All Rights Reserved.

The Bad Old Days?

 

I admit it. I was tremendously unhappy in my early twenties.

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I had been dating a girl whom I had thought was “the one,” only to discover that she was losing interest. I didn’t understand it at the time, but she was growing up, and I wasn’t. Eventually, the whole thing just unraveled badly, and I wrote a tsunami of negativity-fueled music. Oh, the angst!

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The good news is that I met someone much better, and married her, and this has been working out well ever since.  But as I finally grew up, my young angst waned, and I discovered that I had learned how to write from all new previously-untapped emotional places. Nothing fuels one to write sad songs like having experienced real heartache.

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In the midst of my emotional repairs, I had become fascinated with early-sixties Southwestern musical landscapes. I set out to write several songs in this vein, and only succeeded in finishing one (and it may not even sound like what I thought it should). That song is “Catapulting Wishes.”

I imagined this whole story:

There’s this old farmer. Farmer? I don’t know. But he lives out in this wide barren area. In his youth, he set out to start a farm or a business or something, and it was successful for a short time. The town was starting to grow and thrive. He married his sweetheart, and they prepared for a nice life. But then, the interstate went through, or the factory moved, or the mine closed. The town shrank, the farm withered, whatever. Finally it was just the two of them scraping by, hoping that next month… maybe the month after that… or after that… something would change.

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Finally, something changed. One day, she was gone. Maybe she left? Maybe she died?  Like I said, I don’t know. You write the story!

But the image around which I built the whole song was that he has taken all of the scrap lumber from the shed, and built a catapult. Now instead of just “wishing upon a star,” he has assembled this tragic contraption to launch his wishes at the stars. Just like he spent his youth trying to build a life in the wrong place, now he’s spending all this time and energy wishing and wishing and wishing.

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My old band Lux recorded this song, right when our sound was changing from something angsty and perhaps Grunge-y like Soundgarden, into something more mellow and ambient. It seemed like a good idea to mix all our sounds together on one album. That worked for bands like The Beatles, Zeppelin, and The Rolling Stones, right? Well, in our case, everyone found something to dislike on that album. It fell rather flat, and we all went on to other things. So “Catapulting Wishes” could really be the theme of that whole experience.

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I managed to save all of the original tracks of that album. Periodically, I mess around with them. A couple of years ago, I decided to redo my guitars and vocals (the recordings were pretty terrible). So I kept the original drums, added some percussion, re-recorded the bass, and see what I could make of it.

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["This? Why I could make a hat, or a brooch, or a pterodactyl."]

As is common, I set it down, and forgot about it. So I just dug it back up on a Sunday night, re-re-recorded one guitar track, and mixed it on a Monday. On Tuesday, I put a clumsy video together.  Check it out.

Have you ever managed to capture your own melancholy in art; a story, a visual medium, a song, or something else? Have you ever created something that turned out to perfectly sum up a whole experience, before that experience was even over? Speak, my people!

 

Dangerous Defaults, and The Great Christian Pedalboard Escalations of the 21st Century.

In the early 2000′s, I was gigging regularly in three bands as a sideman, fronting my OWN band, and playing every weekend in a megachurch to around 5000 people.

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In an attempt to get the most sounds possible (remember- I had around 5 steady gigs), I had ended up with a gigantic pedalboard holding 13 stompboxes, controller switches and pedals, and a MIDI controller. These then went into six rack-mounted effects processors, and ran stereo into a pair of UK-made Vox AC-15 amplifers.

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I was constantly unhappy.

Something always needed adjustment, and it was never right. My cable costs alone were astronomical. It took a full hour to break it down and load it into my car, and another hour to set it up.

I had an epiphany about it and simplified my whole rig down to a pedalboard with about 9 pedals; no rack gear and only one amp. At the time, my final pedalboard (NINE PEDALS!?) still seemed pretty big. By today’s standards, it’s quaint.

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Fifteen years later, I’ve earned a modest reputation as a guitarist, etc. I was lucky to be associated with great artists who got (deserved) attention, and I happened to have played in several of the largest houses of worship in the area, right as each of their respective music ministries was really hitting its stride (I like to think I was partially responsible for that).

Today, what has really come to surprise me is how much MONEY is being spent by church guitarists on gear. Sweet Christmas, the pedalboards make mine look cheap, old, tragic and small!
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One of the conditions I have come to recognize about myself is that, after a certain point, there is a law of diminishing returns with music equipment. In fact I think it actually becomes subtractive. Even as a pro guitarist, there is a limit to the number of guitars I can own before they become burdensome (seems to be around 15 for me). After that, I literally use them less; grabbing the nearest one because it’s convenient. It becomes a default. A DEFAULT.

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The same goes for effects. The more I have, the less I explore and experiment. I settled on a “meat & potatoes” approach to my gear at some point, where I wanted the basic tools to allow me to express my PLAYING. What I’m observing now is an approach by which church guitarists are using expensive guitar rigs so that their playing expresses their effects. They have all kinds of novel noises, but no strong guitar presence.

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24 strings plus glorious mustache = strong presence.

Not too long ago, a famous worship band went on tour. They appeared on some daytime talk-shows here in the USA, and then performed in Israel by the Sea of Galilee, all looking very sincere (so much gravitas). The daytime TV performances were of particular interest to me, as I could see the musicians doing their jobs. I saw two gigantic pedalboards with complex lights. What I heard was, chords, chords, two-note thing, chords. Ugh. It takes TWO of you to accomplish so little?

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Recently, I joined Instagram. Mostly I’ve been photographing my guitars, and gathering guitar-related followers. A few of these are church guys. One proudly displayed his latest pedalboard layout in a photo. It has to have $2500 worth of equipment on it. Maybe he’s gigging all over the place, but that’s not the impression I got.
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My amazingly creative Instagram handle is “david_eberhardt” if you’re interested in finding/following me.

The point of all this is not the excess of equipment. It’s the related dearth of sonic imagination.
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There’s some sort of trade-off. I don’t know where it happens, but this idea has been driving me for some time. I’m convinced that the more options we have, the less creative we become. Hollywood’s preference for CGI spectacle over plot or character development is a good indicator of this.

When I had comparably very little equipment in my freshly-started home studio, I produced some of my best work. It won awards. It got me on the radio. People started following me. Back then I was doing everything I possibly could to discover sounds and fit musical phrases in to songs.

A few years later, I had too much gear, and I felt like I was chasing after the music instead of having it roll out of me naturally. I was basically throwing gadgets at the problem, instead of looking inside myself for the solution. Somewhere in the process, I also discovered DEFAULT.

Maybe that’s why modern worship music seems so artistically bankrupt. There are fewer deep introspective musical approaches, but plenty of products marketed as solutions. There is plenty of technology, but not much technique. There is not enough artistic desperation, but plenty of default.

Years ago, I heard the story of how Peter Gabriel famously took all the cymbals from the drum kit to force Genesis to start playing differently. It inspired me to force periodic challenges upon myself. I tend to prefer playing a Fender guitar (I have perhaps too many of these), so every January, I force myself to play my Gibson Les Paul as much as possible until the weather looks like Spring. This month, I forced myself back to my classical guitar to learn a piece I’ve been meaning to learn since I was in high school. I’m planning to start practicing acoustic guitar chord-melody pieces again shortly.
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A lot of it boils down to starting over, from scratch, to get away from the defaults.

Some years ago, I decided to explore a new sound with my bandmates. We were a mostly heavy rock band that was venturing into art-pop. I came upon this idea that if I tried a finger-picked acoustic guitar passage against my drummer’s African hand percussion, we might discover something interesting. We did. Adding a little electric guitar ambience gave it a great mood, and we discovered something that became very successful in the work we did together and separately in several bands/projects in our area for quite some time.  That song was “Our Yesterdays,” which you can hear, HERE: https://youtu.be/L1Yd69PRQSY

How do you avoid defaults? What challenges do you put in front of yourself to keep you growing as a musician and an artist? Are there any disciplines you employ? What about equipment? Do you have stuff you could get rid of? On what merits do you keep or unload gear? What do you do to find inspiration?

I’d love to hear your thoughts. Shout ‘em out!

Acoustic Music in October

So far I’ve posted a lot about music and guitar from the abstract and philosophical perspective, with a few links to videos I’ve made.  I’m not really a video guy (total noob at best), and the process is time consuming.  Also, my only camera is on my phone.

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I compose and perform and record and produce music as a vocation. So, taking a break from my usual bloviation, I offer these two simple songs I recorded for some friends’ wedding in early October a few years ago. This was during a time when I was recording a LOT with just one microphone, acoustic guitar, vocals and occasional percussion.

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The first song is a cover of a Train song. Somehow I even managed to sing a bit like Patrick Monahan (at least, I think so).

http://davideberhardt.com/mp3/covers/Dave_Eberhardt_-_Marry_Me.mp3

The next is a song by Griffin House.

http://davideberhardt.com/mp3/covers/Dave_Eberhardt_-_Give_A_Little_Love.mp3

My typical studio production involves creating layers of guitar sounds and stacks of vocals (I blame my fandom of Queen and Boston- don’t judge me). I really enjoy the exercise of paring everything down to the most basic elements, from time to time. Being a fundamentally insecure person, it’s a good practice to get out from all the sounds I hide behind.

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What do you do to break up your routines? If you’re naturally an acoustic-plus-vocal artist, what’s a foreign avenue you explore? If you’re connected to a particular music style, what alternate styles do you investigate?

Speak up!