October 31, 2011

Interview: Mike Enzor

Indie rock songwriter • producer • engineer • multi-instrumentalist

What do you do for fun?

Drink. Hang with friends. Play in bands. Ride my bike to the beach. I like summer. Summer means fun, except that I have to work. Not as fun as when I was a kid.

When I say “drink”, I mainly mean good beers. Stuff like Pliny The Elder and Racer 5. I like hops. A few of those and I’m having fun.

The act of writing, recording and mixing a song is not necessarily fun for me. I dread it actually, but once I get going and things are going well, it’s fun, yeah. I like to work alone because when you’re in a band or recording somebody else’s project, you can’t always go with your gut instinct. I get along well with myself, so yes, I can have fun by myself too. I don’t really consider myself a songwriter. Songwriting is just something you have to do otherwise you’ll be recording cover songs or something, and that isn’t much fun. Sometimes listening to stuff I’ve done isn’t much fun, but other times it is. It’s all very complicated, and complicated is not fun.

What are the worst things about being a multi-instrumentalist?

Finding the groove. I don’t use click tracks or drum loops or any of that s**t. I’ve played drums since I was 5 and learned to play guitar at like 13. I remember thinking when I was about 16 that if I had some kind of multi-track recording device, I could probably do a “one man band” kinda thing. Unfortunately I never was able to try it until I was in my early 30s. I bought a nearly 20 year old Teac 4-track reel to reel machine from a recording engineer at a studio where I was playing drums for a friend’s project. I did a test recording where I plugged a mic into track 1 and played drums to the band in my head, then added guitar, bass and piano on the other tracks. I was on a Sinatra kick at the time, so I did a very lame, sloppy instrumental version of “It Was A Very Good Year”. Haha. After that I decided it was time to write a song, so I sat down with the guitar and hashed something out. Once again, I did the drums first, then everything else. I remember playing guitar to my drum track, and it was one of the most joyous feelings ever. I was hooked.

Still it was hard for me to get it really tight without speeding up and slowing down, stuff like that. Not that I cared all that much. I did try using click tracks and drum machines, but found the groove to be too robotic. Eventually I learned the best way for me to work is to do a rhythm guitar track first, then do the drums. It’s easier for me to play guitar to the drummer in my head than visa versa. I’m not a great player, so all of my recordings feature a lot of imperfections, but I like that. To me, perfect music goes in one ear and out the other. I like it when I can hear what an artist intends, even if they can’t quite execute it. That gives the music character and keeps me coming back for more.

What do you look for when you’re writing lyrics?

Words. Haha. I rarely write lyrics or really even have a lyrical idea for a song before I write the music and have the melody and phrasing already written. In other words, lyrics are unfortunately my last priority, generally speaking. The way I usually write is I sit with a guitar and some kind or crude recording device and brainstorm. If I come up with a chord pattern that works, a vocal melody and phrasing usually happens at the same time. Sometimes words come forth too, but more often than not, it’s “Da da da, da dada da da”. Then I’m faced with the challenge of writing words that fit the melody and phrasing that already exist. Not only is that not easy to do, but I realize it compromises the process of writing lyrics. Sometimes if the music is simple enough, I can easily write words that sound natural, but if the melody is somewhat complex and the phrasing is really specific, it’s tough.

I think I can write decent lyrics, but for the most part, they’re workmanlike. Recently, I’ve tried my hand at writing songs for a band I was in many years ago that has reunited. All of these songs have come to me while driving or at work. Thanks to the age of smart phones, I’m able to do a quick “note to self” audio recording with the basic framework of a song. For these songs, the subject matter was the catalyst, so the lyrics tended to write themselves. I definitely prefer this method but haven’t figured out how to apply it to my “solo” material yet.

Tell me about how you recorded the featured song.

This song, oddly and perhaps self-consciously titled, “Venture Headlights” was something I wrote during a marathon “I’ve got to write a bunch of songs” session. Fortunately, this was one of those where the lyrics came out spontaneously while I was making up the chords and melody. The lyrics don’t make any sense, but that never stops me.

As far as the recording goes, let me back up a little (or maybe a lot). I recorded about 2 albums worth of material with the old Teac 4-track reel to reel machine, then finally graduated to a Roland VS-880 8-track hard disc recorder. I found this machine to be a wonderful tool, and recorded probably 100 songs over a period of about 7 or 8 years. Finally I became frustrated with its limitations and started looking for the next step. I found Pro Tools to be intimidating and really didn’t want to have to invest in it, so I purchased a Korg D-3200 32-track recorder. Unfortunately this machine was defective, and after a long and painful period of fighting with Korg, I was able to ditch it and go with Pro Tools. I used Pro Tools for about 3 years and never felt like I could finish anything with it, then finally acquired Logic Pro and now I am very, very happy.

Ok, now go back to when I had the Korg machine. Venture Headlights is the only song I actually finished with that machine before it went into the shop indefinitely. My friend, bandmate and sometimes engineer Steve wanted to come over and play with the machine, so I pulled that song out thinking it might be fairly easy to record. With Steve doing the engineering (a rare occurrence for one of my songs) we recorded and mixed the song in one night. I started with a rhythm guitar track, then played drums, added more guitars, bass, etc., and vocals. It’s a dumb a** song, but I have to say I like the sound of it, and the groove hangs together well. I rock.

Listen to the featured song!

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Purchase Sentimental Leaves of Absence here!

October 30, 2011

Trick #34: Don’t write

“Make a decision not to do any creative work for a week or other definite time. Make this an active, positive choice that leisure to enjoy all the rest of your life activities free from nagging guilt. The more energy you put into enjoying the state of not writing, the more successful this experiment will be. At the end of your week of not writing, take your pulse. Would you like to extend your grace period, or would you like to try some writing? Absolute honesty is essential here, for there is no “right” choice except the one you most incline toward. If you deeply prefer to have eight other week without writing, give it to yourself and enjoy it to the hilt. If you deeply prefer to start creative work, do so — but not on a production quota basis. At the end of your second week, test your true inclinations again — another week of the same (whichever it was), or is it time to switch? Again, either choice is right if you are basing your decision on what you truly want to do, not on what you ought to do. A set amount of time when you are actively not writing allows you to build momentum and anticipation toward doing some creative work.” -Victoria Nelson, On Writer’s Block

October 29, 2011

Trick #33: After going big, go small

The thing about coming off of a big project is that you’re still likely in that mode, even though things are complete. Anything you create shortly afterwards is going to have shadows of the previous project.

So do a quick-and-dirty project not for release.

Goof around.

Collaborate with someone new.

Do this to put more musical distance between your last big project and the next one you plan to start. That way the next project won’t have shades of a musical retread of the previous one — you will have gotten all of that out of your system (and hopefully picked up some new tricks) before then.

October 28, 2011

Interview: Peppy Castro from Barnaby Bye

Rock songwriter • guitarist • vocalist

Where do you find your creative inspiration?

In the everyday gift of life.

Are there any songs you regret releasing?

No songs, but maybe some perfomances.

Who are some of your musical/personal heroes?

Way too many to list. However, some of them are Dion and The Belmonts, Ritchie Havens, Bobby Darin, The Four Tops, The Spinners, Smokey Robinson, and of course the Beatles.

Regarding your featured song — what’s it about?

Almost a year ago, Ritchie Havens called me to say hi and we spoke for quite a while. He told me that the Cannes film festival was flying him in to do a performance for Sean Penn who was receiving and award and that he was one of Sean Penn’s favorite recording artists. Seeing as Ritchie and I have known each other for over 40 years, I said to him, “Man, that’s great! We’re getting away with murder to still be doing what we love at our age!” Ritchie, then said, “Hey man, I’m just getting started! I’m just beginning!” I laughed and told him that I was going to write a song about that. Now you have the song. Which I recorded in my home studio. Everything you hear on the song is myself doing the one man band thing. I haven’t even released it yet. So enjoy the exclusive.

Listen to the featured song!

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Purchase Thrice Upon a Time here!

Artist web site

October 27, 2011

Trick #32: Style objectivity

Take mental notes when you listen to others’ work for the first time — especially work that you have no personal or emotional connection to.

Look through music sites on the web and listen to a random track from someone you’ve never heard. (Try to find an artist working in a similar genre as you.)

When you listen, ask yourselves these questions:

  • What are they doing right?
  • What are they doing wrong?
  • What’s succeeding?
  • What makes you feel embarrassed for the artist?

Then turn the questions around on yourself.

What similar good and bad things are you doing in your own music?

October 26, 2011

The Simple Carnival: “Effortlessly”

I wrote about The Simple Carnival’s song “Effortlessly” recently. It seems to be a song that always gets a strong response, so I thought I’d put the whole thing on YouTube in case you haven’t heard it:

October 25, 2011

Trick #31: Thumbtacks

Do you have an anemic-sounding acoustic piano that ought to be disposed of?

Don’t throw it out until you try putting thumbtacks in the hammers.

Not all piano strings respond to thumbtacks in the same way. I did this with a handful of pianos, and, in the best case scenario, it can magically transform a poor-sounding spinet into Superman. This is the sound of the acoustic piano on the Girls Aliens Food album.

(Inexplicably, the better-sounding, higher-quality piano I acquired after Girls Aliens Food didn’t sound that great with thumbtacks.)

October 24, 2011

Interview: Matthew Girard from The Future Everybody

Indie producer • engineer • bassist

What’s your most hated song?

Almost all Jimmy Buffett songs would qualify but “Cheeseburger in Paradise” wins.

As a child, was your creativity encouraged?

My parents were pretty open to me trying new things, as long as we made some sort of commitment to stick with it until we decided whatever we were doing didn’t interest us anymore (horseback riding or skateboarding are two such examples). I don’t know when I expressed any desire to play an instrument, but I do remember that my first instrument was a tiny plastic trumpet (my brother got a plastic saxophone). I don’t recall if it even made noise although it probably had some type of whistle in it. I wasn’t discouraged to start playing other instruments (bass and drums initially) and there was a space in the house where my friends and I could play music. My folks didn’t yell too much when we made a lot of noise. They never stopped me from applying and actually GOING to music school, which everyone knows is a clear path to the poor house.

What gear do you use for recording?

I use a variety of stuff for recording and I actually wrote a blog post describing the drum tracking for this particular song (found here.

There’s a lot of standard stuff I use like Pro Tools, Waves Plug-ins, API pre amps, a couple of Neumann and several Shure microphones. I’ve been mixing using a hybrid model of in-the-box stuff (plug ins, automation, etc) and running outputs through an analog summing device (in my case the SM Pro Audio PM-8) through various analog compressors (an ART Tube VLA, Universal Audio 1176′s, dbx 160x, FMR Audio RNC) then back into the computer.

My favorite pieces of equipment to use are an old 3-head Denon tape machine that I’ll run keyboards, drums, or vocals through for the tape compression and distortion as well as guitar effects pedals like analog delays, distortion and fuzz boxes as well as a Boss RE-20 Space Echo pedal. I like the unpredictable nature of what I get from them and I feel like it prompts me to change my approach if I’m in a rut and it keeps me on my toes.

Regarding your featured song — what’s it about?

Since I didn’t actually write the lyrics, I farmed this out to our lead singer Nate Rogers.

“On the surface it’s a generic boy-loses-girl tale of woe, but it’s really more about getting old and bouncing around and never achieving everything you wanted, or claimed to want. (I honestly only figured that out myself just now when I looked at the lyrics; I’d heretofore insisted that I had no idea what it was about.) But yeah, all my songs seem to be heading down that road that lately. My birthday is in a couple of weeks.”

Listen to the featured song!

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Purchase It Takes Nothing here!

Artist web site

October 23, 2011

Trick #30: Write/record/forget

“Write a song. Record it. Then forget it.” -R. Stevie Moore

October 22, 2011

Trick #29: Bad intonation fix

Intonation problems with an instrument on your mix?

Don’t want to autotune it?

Can’t get the musician to replay it?

Fuzzy up the instrument’s intonation by slapping a chorus effect on the offending instrument.

Then the instrument’s actual perceived pitch will be… kind of near where it was played, but possibly pleasant enough that it doesn’t sound out of tune with the rest of the mix.