September 29 – October 8
In several sessions throughout this time period Nick bashed out 14 killer drum tracks. He and Ronni are each also credited with one save apiece for making two of the songs better almost instantly! Nick took “Sunrise” from potentially-schmaltzy ballad to kick-ass track that just happens to have a slow tempo, and Ronni turned “Memories Remain” into a moody rocker by cutting the tempo in half. Those of you who know the song are going to dig the change, I promise…
After a brief setup of my “Big Bottom” Ampeg/Ashdown rig, we started tracking bass. Ronni has actually found a compressor that can level me out, even when I am really digging in! Come to think of it, the bottom is so big I may need to rename the rig “Kardashian Ass!” We got “Stay”, “Complications”, “Goodbye Song” and “Armchair (I Don’t Care Anymore)” in the can with more to come tomorrow. All four were tracked with my 1976 Fender Precision.
“Dementia”, “Sunrise”, “The Real World” and “Daydream” all got a dose of bass (with the ’76 Precision)… We may have managed even more tunes had the strings not died on us! Afterwards I set up a little bass porn photo shoot for those who are so inclined. Most of the time my gear lives in cases – it’s nice to drag them all out once in a while to drool over! In other news, Ronni had to break the sacred male code and RTFM. Cubase, you are a strange animal, indeed.
Bass. How low can you go? Tonight we knocked the bottom out of five more tunes, “Everything”, “Alone Together”, “Memories Remain”, “Inside Out” and “Silly Sad Song”, with all but the last using the workhorse Precision. “Silly Sad Song” is indeed silly as you will eventually hear, and it calls for a loose retro approach to the bass track. We experimented with using an acoustic upright (thanks to Stephanie for the loaner) and that went OK, but it was a little tough to get the tone we were after. That’s when we broke out my 1978 Fender Jazz/Precision fretless hybrid and did our best to achieve an upright bass tone out of it with great results! The upright still may enter the equation, either on “S.S.S.” or on “Blue”, the only tune not yet bassified.
Tonight we tracked the fretless bass for “Blue” after rewriting the part to fit Nick’s drum part. My old bass line fit nicely with my robotic demo drum programming, but Nick’s ability to swing the groove forced me to rethink things a bit. After that we were messing around with running my P-bass through some sweet pedals from Barber Electronics and we got inspired to add a little flourish to “Stay”. Wolfmother would be proud.