This is likely as finished as it may get, - for now:

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  • @ustaknow 3 weeks

    So, a somewhat finished 5-track collection from the "FAWM" project concerning 2020-2021 πŸ˜€ such as it was, is.

    It starts out with solid tracks, then by track-three gets more creative and emotionally sonic; then, finishes up with a fifth track, - plenty for a collection today of any kind.

    As I comment to folks, - it may not be your "kind" of music, - however, I assure you, it was *critically acclaimed, hahhh, yes, indeed πŸ˜€ good, bad, well, that's up to you πŸ˜‰

    - Just be authentically, critical, in all you do, critical work requires it.

  • @quork  3 weeks

    Congratulations, @ustaknow. I’ll try to listen and let you know my preliminary thoughts before the site shuts down.

  • @quork  3 weeks

    Very nice, @ustaknow. Overall impressions: somewhat haunting and disturbing in a musical and listenable way. The first and last songs provide a nice entry and exit point forge more experimental and challenging middle songs. You vocals are strong (and weary?), and ther are great musical moments throughout. Lead guitar messing with modes, layered harps and vocals, banjo (!), and a judicious use of percussion. It’s nicely mixed. Great and enjoyable.

    I thought including your Nepalese friend’s music/vocals could knock it out of the stratosphere. Would also be nice to see the lyrics.

  • @ustaknow 3 weeks

    @quork thank you much!

    I see there's a bit of interest, more than 30 plays and just from "here".

    - For me, that means allot! whomever you-all are, unless you listened a few times and all green bars! πŸ˜€ hahhh (full plays).

    - The *Lyrics are there if you mouse over they provide the lyric [link] or, click on the *individual track direct, and brings to the single track page with lyrics.

    Yes, I had 3+ "collections" worth πŸ˜€ this FAWM, hahhh:

    - "FAWM2021, left​-​overs" - which is 12 Tracks

    - "Old Cowboy Dreams" - which is 5 Tracks

    That comes to 22 Tracks with this,
    "Bury The Past: No Friends [FAWM 2021]".

    Since I kinda break them out as "mini-projects" as I go here in real time, I know there's likely an ad hoc one here or there like my,
    "Christ's Mass One and All (Celebration​!​)" song,
    a one-off, yet FAWM 2021
    (It'll likely stand as a single, go hidden at some point, or some Christ mass special πŸ˜€ collection down the road, hahh.

  • @ustaknow 3 weeks

    @quork and hahh! πŸ˜€ ignore the price thing, they were and are all "name your price". (So if just gotta have it now, I'll get it to jah! πŸ˜€ hahhh.)

    - However, at certain times, it's the only way to control the track.

    So, like the ones @ $1000 πŸ˜€ well, I had suspicions there were shenanigans going on from the traffic I tracked and then see one FAWMer at least, got *abused by some late night "TV" ashehole about his song on BC.

    So, hahhh, abuse away, but, you'll pay $1000 to do it πŸ˜€ and subject to "Fair Use", non-commercial, for profit, CR Law$ πŸ˜€

    I've always said, I'd be delighted for, e.g., 10 Kazillion folks from some - no contract law country to rip my songs. I'd be good with that too! πŸ˜€
    - There's a whole "Christian Contemporary Music" thing where much was ripped and distributed in countries that do not recognize CR, Western Laws. My understanding is, some of those artists gladly toured as well, - not concerned πŸ˜€ (I agree!).

  • @candle  3 weeks

    I have to ask, @ustaknow, is that @ianuarius' shovel from his prized shed on your album cover? Or maybe a left over from one of @dzdandcnfsd's experiments? πŸ˜‰ I do like the cover, tho 😁

    Will take a listen shortly. My brain is still waking up.

    See You In The Shadows…

  • @candle  3 weeks

    Yeah, quite enjoyed that, @ustaknow. Those are some great songs. I really like Friend Oh Friend. You've arranged them in a perfect order, like @quork said. The movement from the first track, through the more experimental middle tracks to the finalΓ© flows really well. I really like how you keep the songs based on your guitar & vox - while adding a judicious amount of other instrumentation that doesn't detract from the songs, but enhances them. All this without taking away the sense of them being sung by "a guy & his guitar". Excellent work!

    See You In The Shadows…

  • @nadine 3 weeks

    After seeing this wonderful cover with the shovel I was waiting for some rock or at least dark country. You impressed me with an more-or-less acoustic album. With a twist which made it interesting for me. Your voice suits well to your music. I also like the choice and build of the tracks.

    The only thing that disturbed me a bit was the different qualities of mixing and/or recording. The first song is neat but there is at least one song where the room situation is completely different. Like recorded in a huge cellar or something like that. I dunno if this is done on purpose since the middle tracks sound more experimental.

  • @ustaknow 3 weeks

    @candle thank you for the feedback and impressions.

    The Shovel, all my cover art is - typically a quick public domain, and, or no license search for images and photos, even historic in pub dom. That was, if remember correctly a photo which I process through Gimp for Linux.

    I'm a old fan of MS Paint where I could take it to the Pixel level, - Gimps like that too. So I did a little bloody airbrushing too, - just my sense of "what's he mean?" humor. (Definitely for the non-literal humor type folks πŸ˜€ ) I typically do those like my music 5 mins πŸ˜€ while loading and waiting. (I'm from the days of "Paste ups and Mechanical's" if know what that means πŸ˜€ - been doing that stuff a long time since beat flipping burgers. Thanks for noticing. Even that one "Hillbilly Shack", - is a real place and is a composite photo most can tell?, and the song is about that house! πŸ˜€ itself. Old story, from long ago.)

  • @ustaknow 3 weeks

    @nadine thank you for taking the time for feedback and impressions.

    - I'd have to know which track you're referring to, to respond, - if the sites still here πŸ˜€ hahhh... -- thrilling like this, isn't it. Mid-paragraph could be locked out!

    I have a somewhat set, very quick method. I always keep the original track in as the base, phone, or otherwise. On that note, somewhat related, -- I was even challenged on it if really did songs that quick (was I really? OMG, why?... are they "that" good?! πŸ˜‰ πŸ˜€ hahhh, -- anyway...).

    - That was proven a few times, one some may know here, possibly, was when I and Bill White here, were on a Facebook song forum a year or so ago, and in the live conversation, while occurring, we both wrote our own version of a song we were riffing back and forth on. He wrote a line in his comment that looked musical to me so I proceeded and then he did too. I believe we both, or I know I had it done and up in 20 min's time from writing, recorded while wrote, then uploaded, while the discussion was live. I waited until I had all the lines I would use, then did the one-take, one-pass and then quick mix and done.
    - Some, are left up and the dubs then accrue in the same method, - however, most if not all of my liner notes typically reference that. It just depends I guess. Anyone who listens or follows me generally know that, "here". I don't think I've spent hours on a song in years.

  • @nadine 3 weeks

    @ustaknow I wish I could tell you the track but my Internet broke and the connection on my mobile phone is not good enough to stream Bandcamp. I guess it was the second or the third which was recorded differently or had way other reverb settings.

  • @candle  3 weeks

    @ustaknow: I fugured as much. Tho, I do like the FAWM tie-in with some esteemed FAWMers. And yeah, I do know what "Paste ups and Mechanical's" are - tho I never had the pleasure of having to do that. GIMP is my goto along with CC0 images as well. I'm never at a loss for a start point for artwork. And at worst, I can muddle something together myself from scratch. As for old school editing, I did do a lot of Tape-To-Tape linear video editing when I first started in the TV business back in the early 2000's. But within a few years we'd upgraded to a digital non-linear system & eventually to Final Cut Pro on a Mac. I hated working with the Mac, but loved Final Cut - but then, I've been using PCs since 1991 - a 386sx 4MB RAM with 2x 40MB Hardrives running Windows 3.0 (before we upgraded to Windows 3.1 Network Edition about three months after getting that computer). I sort of miss some of that old school methodology. Might be why I still use a Tracker for a DAW (tho Buzz is lightyears ahead of Scream Tracker or Impulse Tracker which I started making music on computers ~1993-94).

    See You In The Shadows…

  • @ustaknow 3 weeks

    @nadine I'll have a look at two and three then, and if this is still accessible, I'll get back.

    However, and in part to @candle πŸ˜€ too, - no Reverb was used πŸ˜€ On occasion I have, and have even added native Echo from Audacity, but none in these tracks.

    I like he level of control I have if I just do it manually as much as I can.

  • @ustaknow 3 weeks

    @nadine track two is brighter on that one guitar I use there, and has a few more instruments in it. Also the way I balanced the L/R is different.

    There's allot to be said for how folks put tracks "together" and use different terms, like, "mastering", "normalization" and other and that gets into the "underwear preference" realm again πŸ˜€ hahhh.

    In the old Radio days, an old "advice" was never put two female ballads back to back or even singers, regardless, in case could have the effect of putting a driver to sleep during drive times... if I had a collection of say, "folk" songs and all got normalized and eq'd the same and etc., like what happens to me on a Dylan collection, by the 3rd track I'm changing "Albums" πŸ˜‰ so to speak.

    So, while everyone "argues" so to speak how the masters master, - I disjoint stuff in case one could think they know what the other three tracks would be, via "convention".

    If one listens to a "Rock" album, not Top 40, "real" rock πŸ˜€ from the early 70's they'll hear a "disparate" line up of tracks. Heck even the prog rock was "shifted", e.g. Pink Floyd... one track being 15 mins long πŸ˜€ one would not put another same same and another 15 mins... so to speak.

    Maybe that's what your not hearing too.

    I looked at the meters... and while I'd not put one with a 15% dB drop they don't all start at 0dB and blow Headphones off heads πŸ˜€

    - I am getting pulled away as I write this, so hope it makes sense and some of my intuition is of interest πŸ˜€

  • @dzdandcunfsd  3 weeks

    πŸ‘ I really enjoyed the flow of that, while taken as a whole it's stronger than its parts(which are all good to start with). I put it on loud and commenced to doing some other things, but was still paying attention. Would make a great 30-40+ min. set πŸ˜‰ That could be done in 15 if that's all the time you had too 🀣

    The variation really does keep it fresh, but it still gels and moves nice together.

  • @ustaknow 3 weeks

    @dzdandcunfsd thank you.

    If someone really takes away, the whole is stronger than the parts, - wow, that's great.

    For me that's like many of my favorite "Albums" from other times. I never played a track, it was both sides of the 331/3 ROM Disc πŸ˜€ thingy.

  • @ustaknow 3 weeks

    @candle - here's the story of flying pig heritage πŸ˜€

    It's a true story too; an old flat lander Indian told it to me.

    ( @dzdandcunfsd )

    He said, just like with "Deadwood", they always knew where all the gold was, from God or man (buried), but, never told for all the worry, they'd scold. πŸ˜€

  • @ustaknow 3 weeks

    As far as using only dry recorded tracks, even guitar - direct into the mixer (direct) as I do, I've tried to communicate that to the folks that are "new" so to speak and want "free and ez";... so did point to a $10 sm57 clone mic, (amazon), and audacity (free and very old, est. sw), and provided "method" for a) recording well, then b) mixing, - and w/o "plug-ins" or autobots that will play a noted out piece with live samples as if "you" played them πŸ˜€ ?

    What's happened to "that" in the past, which I don't bring up anymore (well "here" I do, my apologies πŸ˜‰ ), e.g., it's taken as,
    - "can one do a demo" manually, (?), so to speak, or use an "Audacity" type DAW well, -- versus the REAL Thesis, of,
    --- "here, this is how-to do it" and it's so ez. I do it daily 5 mins at a time. Learn this first, then consider why other folks never seem to fully "understand"?

    So, the confusion? is from, as I see it, the acculturated music sales to songwriter indu$try, - this is how you "Mix" a song?... versus, this is how to, again,
    a) Record well
    b) Mix
    c) then do the mojo magic of plugins if care to. (sure, why not!)

    I believe once someone knows what a piece of software is doing they may then, better know how to select/use it; why it makes "that sound".

    For e.g., I did try, once, a magical plugin on Audactiy to see what it could do to a dry track. It worked. (I guess) And for a quick demo, -fine.
    - However, the downside is that track was *finished! It could not be effectively remixed. If didn't save the *aud project, time to re-record!

    It compressed the living scheit out of it, EQ'd a very focused group of Hz's, upped the dB, doubled the track if not more and other I won't get into.
    - ALL, one can manually do, in seconds and not "worry" how the plugin sounds. The "plugin" sounds? Or how you sound that your created or want to convey? Unconventional?

    - Hold on while I spray Kerosene on my soap box, [fire started], not to worry, I'll stop that part of my comment πŸ˜€

  • @candle  3 weeks

    @ustaknow I believe he told me a similar story, but thank you for reminding me of the intricate details.

    As for your thoughts on "Plugin Magic" & the recording process. I sort of have to agree with you. I mean, I do use a whole lot of virtual effects in my process (if you've ever looked at the Buzz Project screenshot I've posted, you know what I mean). But my methodology is one of live-to-tape (usually improv). I always want to capture Performance & not the Song in my recordings. For me, the Song is just the medium of the idea/emotion/moment I am trying to communicate. The Performance only happens once at any given moment in time. Sure, I can play the same Song again at another time, but the Performance of the Song will be different (by definition). In other words, I'm more interested in capturing moments in time (like taking a photograph, I guess you could say) then capturing a "definitve version" of a particular song. To me, the emotion captured in the Performance is much more important than the Song structure, the words, the chord progression & all the other usual "Song Elements" people expect in Western Music. My "Live" Setup in Buzz is simply a tool to facilitate the conveyance of the emotions & ideas I have in my head into audible frequencies. All those FX & crazing routings just give me a large palette to work with, all controlled by my MIDI Foot Controller so that I can use them without taking my hands off of my Guitar. It's very close to the setup I've dreamed of having since the late '90's when I first imagined this whole "Capture the Performance" philosophy.

    See You In The Shadows…

  • @ustaknow 3 weeks

    @candle you, I and a few others that I know of are pages in the same book. I love the evolution of what I will "pile" under EDM. I had an acquaintance, - with @dzdandcunfsd , that was the most masterful of masters of EDM, genius... (not going to far even)..., he used loops and etc., however, he made them himself, note for note, - he said he did and I believe him.

    We, with him started to "jam" some demos and I felt was going in an interesting direction I had not heard before.

    That's me on drums (a loop I made, me) and guitar. I thought @dzdandcunfsd was on it too. Hmmm..., I'm shocked I found it πŸ˜€

    However, he's actually jamming the piano, ironic πŸ˜€ dual effect, bi-directionally πŸ˜€

    I think his music was seriously driving him to the edge of a high cliff, and he took a break. I would have LOVED to see where the three of us would have traveled to. A few other friends I sent tracks too, agreed.

    Oh well. πŸ˜€

    I'm no purest either way. However, when I write, I do what I do and call it that. My concern is always for pulling others up, with and along, not - squashing down in any way.

    I've seen the top of the mountain, there's plenty of room, - it's always shifting. πŸ˜€

  • @ustaknow 3 weeks

    Hmmm, I can't find the one with I thought Cody was on... oh well, when I do... I'll post it somewhere unless remembering something else, but incorrectly πŸ˜‰ πŸ˜€ hahhh!

    All were in the moment builds bounced back and forth... but, you know how it is... if never finished, lost:

  • @ustaknow 2 weeks

    I may have been thinking of this one with Cody and Tim... so many songs...:

    - Tim on Piano and Cody on Shovel πŸ˜€ how's that for diversity of genre blending, with me on guitars.

    Probably best with Headphones (as always).

  • @ustaknow 2 weeks

    Oh and that last track was not a dub, the tracks already existed, apart from each other. I happened to hear Tim's track and then connected them from hearning them "together" in my head, and - it worked!

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