I was Kelley Deal for one glorious night. We played Last Splash front to back. It was awesome. Brought down $625
Showing posts with label tribute. Show all posts
Showing posts with label tribute. Show all posts
Tuesday, November 8, 2016
Friday, November 20, 2015
Looking Back
I'm a pretty reflective person, but I often don't take time to really give myself credit for accomplishments. I'm a "what have you done for me lately" kind of person when it comes to dealing with myself. I struggle and beat myself up during the struggle, then after the struggle is off I rarely give myself credit. I'm on to the next thing to beat myself up for.
Sometime in the next six weeks I am going to wrap up the Breeders tribute recording project. I have 6 songs left to go of the 80 total in the project. I'm trying to take a moment to really let myself reflect on the accomplishment. I'm pretty sure I'm the only person in the world who knows all the work that went into it...or cares. An outsider listening to the recordings probably would think "meh, those aren't so good." It's true. They aren't. I'm not a great singer or player or recording engineer or producer. And that's not the point. I still sat down, listened to each song a billion times, figured out all of the parts (with or without the help of internet resources, more often than not without), learned to play them all (often on instruments that I don't really play), recorded them all, and mixed it down. All in a about 20 months. The history of recording is littered with people who couldn't manage to learn and record 10 songs on one instrument in 20 months. The scope of what I did... in my free moments outside my day job, playing in 6 bands, and maintaining a long-distance relationship...is sort of astounding. I'm gonna own that god dammit.
I learned a bunch about playing my instruments, but this post is going to focus on what did I learn about recording...
1. Acoustic guitars sound different recorded live from a room versus plugged in direct. They don't really sound like acoustic guitars plugged in directly. I'm sure you can buy pre-amps and various conditions that can MAKE them sound like acoustic guitars when plugged in, but if you can manage it...just play them live in a room with good mics. It will be better.
2. Sets of microphones marketed as "drum mics" aren't worth buying. I mean, maybe if you bought really expensive ones. But I tried using a middle-of-the-road set and decided that my basic SM58s sounded way better. You don't need special drum mics. To some extent a good specialized mic for the kick isn't a terrible idea, but I did ok just with a 58.
3. Time delay on vocals = the cheap man's reverb. Don't abuse it.
4. Record the loudest signal you can get before clipping/distortion sets in...then dial down the sound in the mix. It is really hard to make things louder and still sound good.
5. My rig didn't take to #4 very well. It distorted easily, especially with bass frequencies. I had a pretty narrow dynamic range to work in.
6. If possible, get the meta-data correct on your first export. You probably won't go back and fix it later and it doesn't always take anyway. Having your recording with the same meta-data as the backing track (in my case the original song) is bad for lots of reasons, not the least of which is that it is hard to find your recording on your computer.
7. I didn't use post-effects in my recording setup at all and very little editing other than cut/paste and the occasional fade-out or dynamic adjustment. I never figured out how to punch in correctly, so everything was its own new track even when I recorded over parts I'd messed up the performance for. This actually worked out ok. It probably made my files larger than they had to be. But there's a ton that I don't know. As with most things in my life, I did the best I could with the tools and skills that I had. It helped that The Breeders don't tweak their recordings much with digital bullshit after the fact.
8. For a long time I really wanted a rig that would let me record multiple tracks at a time. The one I have let's me only do one track at a time. I ended up recording drums, for instance, by running them through a mixer and sending the whole thing to one track. This meant I couldn't edit individual drums and had to get the balance right on the mixer. This was ok for me. I think where I am coming down on the multiple track at a time thing is that I really don't need that for recordings I do of myself. It would be nice when recording a full live band together. I did a recording of a full band using the mixer method, and it wasn't the best. We managed but it would be better to be able to tweak the individual parts in that situation. That said, the cost of a true 8 to 8 setup or 16 to 16, for instance is probably prohibitive. So you still end up mixing somethings down...like a 8 to 4 or 16 to 4. I guess it would be cool to at least split vox, guitar, bass, drum...but I just don't think I'm going to be doing that enough to warrant the investment. I don't like working with other people on recordings enough.
Sometime in the next six weeks I am going to wrap up the Breeders tribute recording project. I have 6 songs left to go of the 80 total in the project. I'm trying to take a moment to really let myself reflect on the accomplishment. I'm pretty sure I'm the only person in the world who knows all the work that went into it...or cares. An outsider listening to the recordings probably would think "meh, those aren't so good." It's true. They aren't. I'm not a great singer or player or recording engineer or producer. And that's not the point. I still sat down, listened to each song a billion times, figured out all of the parts (with or without the help of internet resources, more often than not without), learned to play them all (often on instruments that I don't really play), recorded them all, and mixed it down. All in a about 20 months. The history of recording is littered with people who couldn't manage to learn and record 10 songs on one instrument in 20 months. The scope of what I did... in my free moments outside my day job, playing in 6 bands, and maintaining a long-distance relationship...is sort of astounding. I'm gonna own that god dammit.
I learned a bunch about playing my instruments, but this post is going to focus on what did I learn about recording...
1. Acoustic guitars sound different recorded live from a room versus plugged in direct. They don't really sound like acoustic guitars plugged in directly. I'm sure you can buy pre-amps and various conditions that can MAKE them sound like acoustic guitars when plugged in, but if you can manage it...just play them live in a room with good mics. It will be better.
2. Sets of microphones marketed as "drum mics" aren't worth buying. I mean, maybe if you bought really expensive ones. But I tried using a middle-of-the-road set and decided that my basic SM58s sounded way better. You don't need special drum mics. To some extent a good specialized mic for the kick isn't a terrible idea, but I did ok just with a 58.
3. Time delay on vocals = the cheap man's reverb. Don't abuse it.
4. Record the loudest signal you can get before clipping/distortion sets in...then dial down the sound in the mix. It is really hard to make things louder and still sound good.
5. My rig didn't take to #4 very well. It distorted easily, especially with bass frequencies. I had a pretty narrow dynamic range to work in.
6. If possible, get the meta-data correct on your first export. You probably won't go back and fix it later and it doesn't always take anyway. Having your recording with the same meta-data as the backing track (in my case the original song) is bad for lots of reasons, not the least of which is that it is hard to find your recording on your computer.
7. I didn't use post-effects in my recording setup at all and very little editing other than cut/paste and the occasional fade-out or dynamic adjustment. I never figured out how to punch in correctly, so everything was its own new track even when I recorded over parts I'd messed up the performance for. This actually worked out ok. It probably made my files larger than they had to be. But there's a ton that I don't know. As with most things in my life, I did the best I could with the tools and skills that I had. It helped that The Breeders don't tweak their recordings much with digital bullshit after the fact.
8. For a long time I really wanted a rig that would let me record multiple tracks at a time. The one I have let's me only do one track at a time. I ended up recording drums, for instance, by running them through a mixer and sending the whole thing to one track. This meant I couldn't edit individual drums and had to get the balance right on the mixer. This was ok for me. I think where I am coming down on the multiple track at a time thing is that I really don't need that for recordings I do of myself. It would be nice when recording a full live band together. I did a recording of a full band using the mixer method, and it wasn't the best. We managed but it would be better to be able to tweak the individual parts in that situation. That said, the cost of a true 8 to 8 setup or 16 to 16, for instance is probably prohibitive. So you still end up mixing somethings down...like a 8 to 4 or 16 to 4. I guess it would be cool to at least split vox, guitar, bass, drum...but I just don't think I'm going to be doing that enough to warrant the investment. I don't like working with other people on recordings enough.
Monday, June 8, 2015
Breeders Tribute Progress
I've now completed and posted 66 songs.
Last weekend I put down drums parts for "Overglazed," "900," "Lord of the Thighs," "German Studies," "Regalame Esta Noche," and "Happiness Is a Warm Gun." I admit that, as I get into the weeds I am more prone to cut and paste parts than to try for perfect performances.
After those are done, that leaves just "Mountain Battles," "The Last Time," "Chances Are," "Climbing The Sun," "Collage," "Wicked Little Town: Hedwig Version," "I can't help it if I'm still in love with you," and "Buffy Theme." These are pretty deep cuts.
I'm either out of town or busy most weekends this summer, so things are probably going to slow down a bit until October. I took a moment this weekend, while working on the drums for the last of the main tunes, to reflect on the accomplishment to date. I know that no one else notices or cares (or maybe people noticed and just thought the whole thing was utter shit) but it is quite a body of work. Certainly it will be finished before I hit the two year mark...perhaps in a year and a half time...which is pretty quick.
Last weekend I put down drums parts for "Overglazed," "900," "Lord of the Thighs," "German Studies," "Regalame Esta Noche," and "Happiness Is a Warm Gun." I admit that, as I get into the weeds I am more prone to cut and paste parts than to try for perfect performances.
After those are done, that leaves just "Mountain Battles," "The Last Time," "Chances Are," "Climbing The Sun," "Collage," "Wicked Little Town: Hedwig Version," "I can't help it if I'm still in love with you," and "Buffy Theme." These are pretty deep cuts.
I'm either out of town or busy most weekends this summer, so things are probably going to slow down a bit until October. I took a moment this weekend, while working on the drums for the last of the main tunes, to reflect on the accomplishment to date. I know that no one else notices or cares (or maybe people noticed and just thought the whole thing was utter shit) but it is quite a body of work. Certainly it will be finished before I hit the two year mark...perhaps in a year and a half time...which is pretty quick.
Thursday, April 9, 2015
More on Breeders Gear
I've been coveting cheap gold top Les Pauls with open pickups over the last few months (like Kim's). I almost bought one in Indiana at the start of the year, but it sold before I could get to it. There's one available, a red quilt top classic (like Kelley's), available at my local GC for $299 right now. I'm basically waiting to see how much my car repairs are going to be (mechanic is mere blocks away from the guitar) before I go look at it (and maybe hoping it will sell before I touch it). I was trying to figure out how close it looks to Kelley's and stumbled across these excellent circa 2008 pedal photos by "dietspritezero."
and Kim's below (she has one black and one white pickup as opposed to the zebra, but I kind of like the zebra. I suspect the pickups on Kim's have been changed out from stock):
At first I was just looking at the photos and didn't notice who's account it was. Then I saw and was like...right. Of course. I have a long history of bumping into "dietspritezero" online. She's the person who taught me (via youtube video) how to play Debaser. I think we chatted briefly about the fan-only Music Box Pixies show once on a forum too. It's fun to cross paths with the same super fans from time to time.
UPDATE:
Found some good pics of the red les by searching under Cheryl instead of Kelley (photo in Kim's basement by Glass, natch):
And the one for sale, a "classic":
It isn't an exact match. Kelley's doesn't look like it is a quilt top and it has old-style tuners, but in my price range it might be close enough ($299 for this Epi. It's a discontinued model so no comparable price new).
For comparison, here's the gold Epi Traditional Pro I've been eyeing (they run ~$450 new or ~$350 used):
and Kim's below (she has one black and one white pickup as opposed to the zebra, but I kind of like the zebra. I suspect the pickups on Kim's have been changed out from stock):
In the end I think any gold top or red les that I can get for under $350 that has uncovered pickups will fit the bill so long as it isn't one of the super shitty models (100, studio, junior, etc). I know that newer models allow you to split the coils in all kinds of weird ways, but I really don't think I'd use that function.
And, as I find myself less than 20 songs away from finishing the tribute project (and unlikely to ever play the tribute project out live) this is all basically a waste of money anyway.
Monday, March 9, 2015
Breeders Tribute Progress Report
53
I'm just gonna take a moment to ponder that number.
[pause]
I have kind of a list-making/task-checking-off personality. It gives me pleasure to finish things. When the project is a very large one, the final "finished" payoff can take a long-ass time. And the truth is, by the time that I get there I've often discounted the goal and moved on to something else entirely.
But let's just point out here that, over about the last 10 months and one week (4/29/2014 to 3/8/2015) I have learned all the parts and recorded them for 53 Breeders songs. That's about 45 weeks...or 1.2 songs per week on average (though they really were done more in clumped batches than steadily). Along the way I've learned how to play power chords. And about guitar effects. And about slide guitar. And picked up a violin that I barely knew how to play and made sounds with it. And mostly nailed down many drum parts that I never thought I'd get. And almost, ALMOST, figured out barre chords and have begun to be able to play them mostly right. And I've noticed a TON of things about the songs that I never noticed before. And grew to like many of them way more than I used to.
I've accomplished all of this in my "spare" time.
It is kind of mind blowing.
Done:
All of Pod (except the Beatles tune, fuck that Beatles tune)
Half of Safari
All of Last Splash
All of Title TK
About one quarter of Mountain Battles
One quarter of Fate to Fatal
Almost half of Pacer
I'm considerably into the weeds now. Most of the remaining tunes have no tab or chords anywhere to be found. Many of them I don't care that much for, making my motivation mostly about complete-ism...but that's what I thought a dozen songs ago and I've really enjoyed doing those. So we'll see where it goes.
Started learning "Dedicated" last night. It was a hoot.
I'm just gonna take a moment to ponder that number.
[pause]
I have kind of a list-making/task-checking-off personality. It gives me pleasure to finish things. When the project is a very large one, the final "finished" payoff can take a long-ass time. And the truth is, by the time that I get there I've often discounted the goal and moved on to something else entirely.
But let's just point out here that, over about the last 10 months and one week (4/29/2014 to 3/8/2015) I have learned all the parts and recorded them for 53 Breeders songs. That's about 45 weeks...or 1.2 songs per week on average (though they really were done more in clumped batches than steadily). Along the way I've learned how to play power chords. And about guitar effects. And about slide guitar. And picked up a violin that I barely knew how to play and made sounds with it. And mostly nailed down many drum parts that I never thought I'd get. And almost, ALMOST, figured out barre chords and have begun to be able to play them mostly right. And I've noticed a TON of things about the songs that I never noticed before. And grew to like many of them way more than I used to.
I've accomplished all of this in my "spare" time.
It is kind of mind blowing.
Done:
All of Pod (except the Beatles tune, fuck that Beatles tune)
Half of Safari
All of Last Splash
All of Title TK
About one quarter of Mountain Battles
One quarter of Fate to Fatal
Almost half of Pacer
I'm considerably into the weeds now. Most of the remaining tunes have no tab or chords anywhere to be found. Many of them I don't care that much for, making my motivation mostly about complete-ism...but that's what I thought a dozen songs ago and I've really enjoyed doing those. So we'll see where it goes.
Started learning "Dedicated" last night. It was a hoot.
Friday, January 23, 2015
What a Difference a Mere Three and a Half Years Makes
I was just doing a google search and happened across one of my own posts in which I muse about some day being in a Breeders tribute band but listing all of my misgivings.
In the last 9 months I've recorded most of the Breeders catalog and played everything on the recordings. I've also been asked to join a live tribute and sort of turned it down (but when asked I felt pretty strongly that I'd only want to drum or play lead guitar in such an enterprise, which is no where near what I was thinking when I made that old post). I have even learned to play power chords and then subsequently realized that KiD doesn't really use power chords much and so I've started to learn to play barre chords.
Time is weird.
In the last 9 months I've recorded most of the Breeders catalog and played everything on the recordings. I've also been asked to join a live tribute and sort of turned it down (but when asked I felt pretty strongly that I'd only want to drum or play lead guitar in such an enterprise, which is no where near what I was thinking when I made that old post). I have even learned to play power chords and then subsequently realized that KiD doesn't really use power chords much and so I've started to learn to play barre chords.
Time is weird.
Wednesday, January 21, 2015
Getting Back to It
Laid down drum tracks for Safari, Oh!, Glorious, Night of Joy, Mom's Drunk, and Dedicated last night (Safari the day before).
Friday, November 28, 2014
Breeders Tribute Progress
Gonna try to bang out the last 4 tunes from part 3 this weekend, bringing the total done to 47 songs. I think I've determined that there are 66 unique Breeders tunes in the catalog, 12 Amps, and 10 solo (88 total). 53% or better done (it feels further along than that though as the list of songs that I actually am willing to learn dwindles ever more).
Friday, November 7, 2014
Breeders Tribute Gear
I've been going along doing this Breeders tribute without much concern for gear. I've used what I had access to...which is mostly a small battery operated VOX digital modelling amp, a knock-off telecaster, and a knock-off stratecaster.
Finally looked up today what exactly they play:
Noting that today I saw reference that the gals use Boss DS-2 Turbo Distortion ($75) ...but of course they are playing through Marshall half stacks too. Probably not needed with the tube screamer.
Finally looked up today what exactly they play:
To my complete shock, the strats are 1991 Strat Ultras, which have a HSS pickup configuration...which just happens to be what the strat knockoff that I'm using has.
I've been considering picking up a les paul someday but the choices are so many that I didn't know what to get. Based on what they play and what I've heard and my price range...I think the choice to make is a Epiphone Les Paul Traditional Pro in gold top. ($499) I've heard before that "studio" models are for shit, and what the gals play have the humbuckers (P90s in their case, though that won't probably be in my price range) that have both parts showing (instead of it being one single plate cover). Either that or go with a standard plain in gold top ($399). I'm not running out to buy anything cause I have access to plenty of guitars, but someday maybe.
I have a list of pedals on the wishlist for the future (probably far ahead future) too:
Ibanez tube screamer (prolly TS9 with 3 knobs and the big foot switch, $99)
Boss super chorus CH1 ($99)
Boss digital delay DD3 ($129) or DD7 ($149)
EH nano Holy Grail reverb ($120)
Boss RC-3 Loop Station ($199) sounds like fun, but doubt I'd ever learn to use it.
All of this ignores that I already have all the effects I need in the little battery amp (though they aren't easily switchable)...that I have no need to perform on guitar...and that I don't own a real guitar amp. That's why none of this is a near term need or even want. It's all dreams in the useless ether.
PS: The below (from LSXX tour) is ridic.
UPDATE: I totally forgot to list the black and white telecaster with "Echo" written on it. They don't use this very often but it has started to show up in some of the new tunes.
And, of course, Jo has played a Rickenbacker bass (Pod) and a Music Man Stingray (first Kim's red one and later a tan one that I presume to belong to Jo). Sometimes the red P bass from Pixies makes an appearance too and even the Thunderbird got played by Mando.
Thursday, September 11, 2014
Breeders Tribute Update
I picked the next group of songs for the tribute recording project maybe a month ago.
"Only in 3's"
"The She"
"Little Fury"
"London Song"
"Doe"
"Opened"
"Too Alive"
"Put on a Side"
"Sinister Foxx"
"Tipp City"
"I Am Decided"
"Forced to Drive"
"Bragging Party"
"Empty Glasses"
"Istanbul"
Two weeks ago I spent a weekend working out the drum parts (hurt my back sitting on the drum throne stooped over writing notes using my snare as a desk too long...and it still hurts...old!), and last weekend and the week prior recorded the drum parts. They aren't perfect, but most are "good enough."
Last night I was in good "Kim" voice coming off of a long CJ rehearsal that ended with me singing "Into the White," "Manta Ray," and "Bam Thwok" right in a row...so I rushed home and started recording. Got down lead vox for all but Only in 3s, Too Alive, Bragging Party (discovered 3/4 of way through song that I'm missing the lyrics for the last verse), and Istanbul. It was a late night (relatively) and I found myself a bit exhausted with sore legs and back after standing playing bass for 3 hours and then standing a 4th and into a 5th hour to sing...but well worth the effort. Again...old.
I realized on the ride into work that I've established a very strong pattern for this project which makes surprising sense. Typically when you are recording from scratch you start with drums to set the foundation. I've done this in this project too even though it isn't necessary at all because I use the original recordings as scratch tracks and don't even listen to the tracks I've recorded until the whole song is done. Why, I wondered? It is as simple as the fact that drums are the easiest thing to pick up first. They are intuitive. Even a non-musician can clap along to a recording. I spend a few weeks listening and learning and writing out notation for the drums...and then I record them when they are pretty good. I can't wait to record, I have to work out the drums, practice them a few times, and then record soon. If I go a week or two without working them, I lose them. By that time I've heard the tunes enough times that the vocals are second nature. So I do those next. Once I have to figure out actual notes...my go to is bass. It always has been even back in the days before I PLAYED bass. When I wanted to learn a song in my 20s, I played along to it by picking out the root notes first, and then translating those into chords. And so it is now. Once bass is done all that's left is lead and rhythm guitar. I've been doing lead first, because, I think, they are single notes and easier to pick out. Then I wrap up with guitar because I'm terrible at playing the barre and power chord structures. It is an entirely logical, and accidental, system.
"Only in 3's"
"The She"
"Little Fury"
"London Song"
"Doe"
"Opened"
"Too Alive"
"Put on a Side"
"Sinister Foxx"
"Tipp City"
"I Am Decided"
"Forced to Drive"
"Bragging Party"
"Empty Glasses"
"Istanbul"
Two weeks ago I spent a weekend working out the drum parts (hurt my back sitting on the drum throne stooped over writing notes using my snare as a desk too long...and it still hurts...old!), and last weekend and the week prior recorded the drum parts. They aren't perfect, but most are "good enough."
Last night I was in good "Kim" voice coming off of a long CJ rehearsal that ended with me singing "Into the White," "Manta Ray," and "Bam Thwok" right in a row...so I rushed home and started recording. Got down lead vox for all but Only in 3s, Too Alive, Bragging Party (discovered 3/4 of way through song that I'm missing the lyrics for the last verse), and Istanbul. It was a late night (relatively) and I found myself a bit exhausted with sore legs and back after standing playing bass for 3 hours and then standing a 4th and into a 5th hour to sing...but well worth the effort. Again...old.
I realized on the ride into work that I've established a very strong pattern for this project which makes surprising sense. Typically when you are recording from scratch you start with drums to set the foundation. I've done this in this project too even though it isn't necessary at all because I use the original recordings as scratch tracks and don't even listen to the tracks I've recorded until the whole song is done. Why, I wondered? It is as simple as the fact that drums are the easiest thing to pick up first. They are intuitive. Even a non-musician can clap along to a recording. I spend a few weeks listening and learning and writing out notation for the drums...and then I record them when they are pretty good. I can't wait to record, I have to work out the drums, practice them a few times, and then record soon. If I go a week or two without working them, I lose them. By that time I've heard the tunes enough times that the vocals are second nature. So I do those next. Once I have to figure out actual notes...my go to is bass. It always has been even back in the days before I PLAYED bass. When I wanted to learn a song in my 20s, I played along to it by picking out the root notes first, and then translating those into chords. And so it is now. Once bass is done all that's left is lead and rhythm guitar. I've been doing lead first, because, I think, they are single notes and easier to pick out. Then I wrap up with guitar because I'm terrible at playing the barre and power chord structures. It is an entirely logical, and accidental, system.
Tuesday, August 19, 2014
Breeders Tribute Progress
I went ahead and finished the last 8 songs of "Pointless Recording Project Part Two" (having Monday off was admittedly key to getting this done). This brings the current total on "theBreedArs" project page to 32 songs. Depending on how one counts these things (what counts as a Breeders song and what doesn't is a more philosophical question than you might expect)...that leaves somewhere between 26 and 45 tunes remaining in the full catalog (plus, perhaps, a few rarities that I don't want to even think about). As the great Barney Stinson was want to say when no one at all in the world wanted him to do something: "Challenge accepted.
Monday, August 11, 2014
Breeders Tribute update
I'm up to 24 Breeders Tribute tunes posted now. I feel myself leaning in to the concept of just fucking recording them all.
My standards are going down too. Get it done is the new policy. Really what the fuck difference does it make? No one is paying attention anyway.
There is something profoundly satisfying about finishing a song...warts and all. It may be the last safe high in my life.
My standards are going down too. Get it done is the new policy. Really what the fuck difference does it make? No one is paying attention anyway.
There is something profoundly satisfying about finishing a song...warts and all. It may be the last safe high in my life.
Monday, June 2, 2014
Breeders Project Update
Up to 8 tunes posted now. Seven more are in process and close to done. Picked out 10 more to work on next cause I decided that I totally love doing this even if it IS kind of embarrassing.
It's the little things...
Case in point. When I recorded "Huffer" I played the guitar "solo" straight through. In real life Kim and Kelley exchange parts on this as call and response. It bothered me that it didn't sound like two people playing on my recording. But I didn't want to re-record it as two separate lines cause...well that would be hard. So instead I took the line of myself playing it all and copied it and pasted it into two new tracks. One track I panned right and deleted every other part. The other I panned left and deleted the opposite parts. The result sounds like two people playing like on the original. I'm very please with myself about this.
I know that this is just the kind of digital tom-foolery that Kim hates...but it is fun to learn how to use the software and to make it sound kinda like the original. I'm "fixing" very little. It's all me on there...even the mistakes for the most part.
See 1:14 through 1:24 on the recording below.
It's the little things...
Case in point. When I recorded "Huffer" I played the guitar "solo" straight through. In real life Kim and Kelley exchange parts on this as call and response. It bothered me that it didn't sound like two people playing on my recording. But I didn't want to re-record it as two separate lines cause...well that would be hard. So instead I took the line of myself playing it all and copied it and pasted it into two new tracks. One track I panned right and deleted every other part. The other I panned left and deleted the opposite parts. The result sounds like two people playing like on the original. I'm very please with myself about this.
I know that this is just the kind of digital tom-foolery that Kim hates...but it is fun to learn how to use the software and to make it sound kinda like the original. I'm "fixing" very little. It's all me on there...even the mistakes for the most part.
See 1:14 through 1:24 on the recording below.
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