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Phase 3 - L.Y.R.I.C.A.L. Without Fear

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Archive for the ‘dstnysprn’ Category

One More Recording To Go and Phase 3 is Finished!

Thursday, January 21st, 2010

All the tracks on the album are done.  All I’m waiting for is Destiny Soprano to re-record her part on “Bomb Squad” and it’s a wrap!  She’s coming by tomorrow to record her part, and as soon as the mixing is over, it’s being sent over to TuneCore and it’ll be on its way to iTunes.  March 1, 2010 is the tentative release date, as it usually takes 4-6 weeks for iTunes to have stuff up via TuneCore.

I released “Phase 2 – Lyrics to an Identity” almost 5 years ago.  It took 5 years to make this album, and it’s gone through so many iterations and name changes that at one point, during a low point in my life, I didn’t think the album was going to come out.  I have to thank God for that one (and everything else), because ever since I started playing in the church band every Sunday and cleaning up some of the stuff in my life that needed cleaning, I became revitalized and re-inspired.  I’m not exactly making Christian music right now totally, though I have made Christian songs in the past, but He’s blessed me anyway with inspiration, wisdom, and freedom of creativity.

The acronym in the title of the album, “Phase 3 – L.Y.R.I.C.A.L. Without Fear,” stands for Leave Your Regrets In Christ And Live.  This is the basically the approach I took with the album as time went on.  The songs that were going to originally be part of the album were all pretty standard, and although I love every song I make, it was the songs that were different from what I’m used to doing that were the most enjoyable to make.  There were three guitar solos (“Mostly Boast,” “Found Me,” “The Bomb Squad”), a video game sample (“Call to Arms” from Final Fantasy VI), a symphony orchestra (courtesy of Project SAM Symphobia, on “Round and Round”), capoeira rhythm (“Roll Your Windows”), blaring choirs with my “Bleeding Heaven” technique (on “Devastator,” more on the “Bleeding Heaven” technique later),  multi-layer samples (“Roll Your Windows”), Beatles style build up and scream (“Mostly Boast”), live drums, bass and piano recordings (“Live Hip-Hop,” available on the iTunes version of the album) and other things.  Although some signatures of mine are there, this album sounds distinctly different from my past two, and I think it’s for the better.

As far as concepts go, I think “The Bomb Squad” was the most fun.  You also have “Found Me” and “Round and Round” which are both incredibly personal to me.   “Mostly Boast” was the record that I let loose on and I stopped caring about what people would say if I did certain things in my music.  “Call to Arms” was actually inspired by a crew of people I was running with that was finally getting over past beefs to go have fun again.  “4 My Ghostwriter” actually makes the idea of a ghostwriter a more positive thing (listen to the song and you’ll see why).  “Do Something” was my declaration that I wouldn’t just sit around and do nothing, especially after my best friend Rain past away in 2007.  “Every Move” was me slowly getting to the point where I wouldn’t let people dictate what I rhyme about.  “Handle Our Biz,” “Spear,” and “You Need To..” were getting my people involved with some 5fam love.   “Devastator” was simply me kicking ass and getting you to want to kick ass too; in some ways an “I OWN YOU” part two.

I had a lot of fun with this album, and about just as much frustration.  All the frustration was worth it though, and what resulted was an album that I’m most proud of and can’t wait to show the world.  I’ve even got a plan for the songs I will perform, and hopefully I can gain some traction with some new listeners.

I have to thank everyone who helped me on this album with their contributions: Harmony Speaks, Destiny Soprano, CoCoa, DiMpLeZ, Brian Bullion, FoRcE oNe, Less, K-Maculate, ADM, Boy Gnyus, Vincent, Takewun, JC and SL.  Each recording was a fun (and funny) experience.  Especially “The Bomb Squad,” which took two years to complete and everyone in MsP had a role and their voice recorded on it.

Hopefully, when you listen to it, you’ll learn some things from it, whether it’s personal to you or on a musical/lyrical level if you are a musician.  Either way, most importantly, I hope you enjoy the music when it comes out on March 1, 2010.

Thanks for reading also!  More to come!

-mnshyn

Phase 3 Nearing Completion… Future Plans

Monday, January 18th, 2010

With “Bomb Squad” in its release candidate phase (I recorded my part yesterday), and “Intro III” recorded (done yesterday as well), this only leaves “My Thoughts Exactly III,” “Thank You III,” and “Outro III” left to record.  These last three would only take me an hour all together to record as none of them are songs.  After that point, the album goes directly into Tunecore and FINALLY… on its way to iTunes.. hopefully by March 1st. =]

Now comes the planning for the future.  I’m looking to promote this one more than I have promoted the past two albums, and I have a lot of confidence in this album.  I feel that there are many strong tracks that will be alluring to different audiences, and with the melding of unorthodox elements within these songs I feel that I am bringing something quite unique to the table.  Promoting will include performing in some open mics and a video.  I may do some YouTube tactics as well, but I don’t want to use the same tactics everyone else is using.

Hopefully, I can bring in some iTunes sales.  Although the numbers haven’t been anywhere near stellar, the fact that I have been regularly selling a song here and there means that there are people who are interested.  This album, I believe, has the power to bring some more people in at a much better rate.

Here are the projects that are currently in progress:

1. Project Inhalor [adm/mnshyn]
2. Wind Beneath My Wings [dstnysprn]

I will most definitely be working on a Phase 4 once Phase 3 has gone to iTunes.  What will Phase 4 be?  It will definitely build on the ideas of Phase 3, but I want to bring in some other elements as well that I have not used.  Different time signatures (5/4 and 6/8 being possibilities at the moment), different keys and chord structures (particularly more use of diminished chords and other 4 note chords aside from dominant 7th), and new sampling techniques.  I want my music to still have the feel of a hip-hop rooted foundation, so it still won’t strive too far from that.  Some people strive to get the old sound back (those still wanting that 94 boom bap), while others are trying a new sound that do not sit well with the traditional heads (snap/crunk/hyphy/signature dance).  I’m trying to forge a new direction that would seem logical and fitting to everyone yet still sound fresh and innovative.

I still would like to do an MsP compilation album to really show what we’re about.  MsP’s got such a lovely array of talent, and people need to see (or in this case hear) what we can do.

With that being said, I would like to help all the members create at least 1 or 2 songs this year at the minimum.  It would be interesting to note whether or not that goal will be achieved by December 31, 2010.

There’s also Flight, who we will finally get to see again after 3 years!  I don’t know if he will be interested in making music again, but you know I will have to ask.

MsP will have an informal meeting on February 6, 2010 over Chicken and Rice, so maybe we can trade notes there.

Interesting times!  Let’s see what this year has in store for us.

-mnshyn

Bomb Squad: Walkie Talkie voice formula, Harmony Speaks notes, and the Prologue

Saturday, January 16th, 2010

To tie in some of the plot points on Bomb Squad, Speaks recorded some dialogue with me.  It was a pretty funny experience with Boy Gnyus and us cracking jokes in the meanwhile. She’s speaking to me via walkie talkie so I had to make her voice sound like she was speaking through one.  I was able to do it by doing the following:

1. Old school radio quick filter in Audition 3.0
2. Distorted vocals
3. Stripped the lows
4. Used the walkietalkie_eot (after the message transmission) and tilt (before the message transmission) wave files from freesound.org (awesome resource for royalty-free sound effect samples for download)

Sounds pretty good, if you ask me.  One benefit of this was also to cover up some of the new speech nuances that Speaks now has because she had just gotten braces.

We still haven’t done the oohs and aahs.  I’m going to leave this up to her though if she still wants to do that since she will probably be experiencing more pain from her braces since she’s still new to the experience.  She did a good job with the dialogue, so I’m happy with that at the minimum.

Now, I will set the table for you guys so you can see what this song is about.  Peep the next post for the recording by Takewun of Gnyus Productions that will serve as a prologue to this song, “The Bomb Squad.”

-mnshyn

Flying hybrid on “Wind Beneath My Wings”

Wednesday, January 13th, 2010

For Destiny Soprano, she requested to make a cover of the Bette Midler classic, “Wind Beneath My Wings.”  This is my third try at it (the first covered in the blog), and so far I’m pleased with the results.  The drums are not totally studio quality considering my lack of microphones and recording inputs, but we’ll manage.

Both previous attempts involved me using FL Studio fully as a sequencer and using VST’s.  Sampled drums were used, as well as Nexus for various instrumentation including strings and piano.  First try came out too overdramatic, and the second iteration was too loose and modern pop/R&B.  I felt if I strayed too far, I’d be doing the original an injustice.

So this time, I figured I would rely on a hybrid of acoustic and synthesized instruments, using the same key and arrangement of the original.

The drums are a mix of sampled drums and live drums.  The live acoustic drums I have here at Lunar Base Studio are from a 5-piece Ludwig drum set I bought off of Brian Bullion a few months ago.  The sampled drums come from a batch of different drum sounds supplied by a DJ in one of the rap boards I frequent.  Since I only have two inputs on my E-MU 0404 card, I was restrained to recording the kick (Shure Beta 52) and a mic that encompassed all the other drums and cymbals (Audio Technica 2020, overhead, through a Studio Projects VTB1 preamp and a Samson CCom16 Compressor).  I have a Samson MDR6 mixer I use sometimes to get multiple signals that feed into a mono signal, but Cocoa has my other boom stand and PG58.   I do have an Audio Technica PRO37 that I use to record acoustic guitar sometimes, but I don’t have a spare mic stand.

The electric guitar used was an Epiphone Les Paul Special II (cheapest Les Paul they make. lol) recorded direct through the VTB1 and Compressor.  It was then fed into the free Amplitube plugin (only had two different amp sets because it was free via Tunecore).

The bass used was an Epiphone Viola Bass.  This bass is in the similar shape of Paul McCartney’s bass which was a Hofner.  This was plugged into an Acoustic B20 amp, then recorded with the Shure Beta 52 through the same preamp and compressor.

Piano was reFX Nexus, Ballad Grand Piano.

The result came out very juicy, with a good mix of live and sample.  It’s nowhere near completed, since it’s just the first verse and chorus.  I will post this one as a single however when this is done, so you can refer back to these notes once you’ve heard the final project (free because it’s a cover. =])

Destiny can really kill songs like these, as her best asset is her powerful voice.  Out of the four MsP girls, she has the  most power in her voice.  I don’t necessarily mean volume, but more along the lines of a presence that just commands attention in the best way.  DiMpLeZ is very soft, acoustic singer style.  CoCoa’s voice is smooth and soul-like.  Harmony’s very technical with her singing and covers a slightly lower range, with a well-rounded vocal quality for different genres and harmonies (hence the name).

So the style we’re looking at for this is almost like the original, but I would like to shy away a bit from the ballad-y over-reverberated atmosphere.  I want it to be a little more dry in terms of spacing, but rich in instrumental sound.  I’ve read from different sources that on ballads you should give the singer a decent amount of reverb to give that solo feel of being in a room singing.  I’m going to go against the norm on this one and try to be more dry on this one.  I don’t necessarily mean NO reverb, but definitely less than what was on the original.

I also refuse to use any kind of synth-like instrument for this one, and will stick to real instruments or VST’s that simulate real instruments.  I would like to take some of the lead parts of the piano over in the second verse with a smooth slightly-blues distorted guitar to give it a small edge to the instrumental.

Considering this is the first live recording of drums I’m doing here in Lunar Base, I’m quite happy with the results so far.  Let’s see where this goes from here.

More coming soon!

-mnshyn

The range of Harmony Speaks and covering Bomb Squad’s plot holes.

Tuesday, January 12th, 2010

Before I begin this particular post, I want to show what the usual process is for a project as it is being created.

Project Phase 1 – (yyyy.mm.dd-beat_name):
A beat has been made, and there are no concepts or anything yet; just a beat loop or an instrumental.

Project Phase 2 – (alpha):
The beat has been chosen for a possible song, with preliminary ideas for a concept, instrumental structured according to those ideas

Project Phase 3 – (beta):
Vocals have been recorded

Project Phase 4 – (release candidate):
All the vocals have been recorded; final mixing and mastering begins

Project Phase 5 – Final Release

Just to show you where we’re at, Bomb Squad is on Beta 14, which means that since the first vocals have been dropped, the song has gone through 13 subsequent mixes, including each mix where an added vocalist was recorded.  At this point, only two have not recorded anything yet (Harmony Speaks and I) and one (Destiny Soprano) needs to re-record.

I made a few miscalculations and the lyrics I wrote down for Speaks’s part (now looking in retrospect) were definitely subpar.  We ran through it yesterday, and we came down to the conclusion that what was originally planned wasn’t going to work.

The song is in Eb minor, and on the first bar (an Eb minor chord), the melody leads off with a Bb5.  Speaks finds that hitting a B5 is pushing, so even a half step lower would sound slightly strained.  The first half of the verse stays within a few notes below it, which is at the very higher end of Speaks’s range.

For those who are lost, the note C4 would be middle C.  If you look at a piano, the C that’s in the direct middle of the piano is Middle C, or C4.  From there, you would count up through the notes.  C4, C#4, D4, D#4, etc. until you hit C5, then continue the trend upward.  Going down would be the opposite.  C4, B3, Bb3, A3, etc.

Speaks’s range, I guess, would be classified as a mezzosoprano, which would be from A3 to A5.  That’s about right, since A5 would be a full step below the note that I guess would be the mezzo-soprano singer’s equivalent of what people call a “max” in lifting.

This was the first issue with the draft we tried yesterday.  The second were the lyrics and rhythm; neither of which were to par.  Since her part is pretty much expository, some of the words needed for it sound really unnatural for a singer.  The flow also wasn’t natural and it was choppy because of the words needed.  Substituting different words took away from the exposition.  The exposition is needed because it would cover a plot hole.

Basically, regrouping was necessary.

My thought now is that Speaks’s part can’t be a singing part, since specific things about the situation need to be said.  Since I’ve concluded that using some of those words needed sound very unnatural (or like some Broadway Action Musical of some sort, for example, “defuse the bomb”), she’ll need to speak what needs to said.

Since ADM and I are speaking in two different parts of the song, it would help if there was a break in the action for further exposition at a midway point between the introduction when we first bust in the door, and the other part recorded where we discuss defusing the bomb.  It would be expo-verse-verse-expo-verse-verse-expo.

I have no problem with her speaking the part, but I do want Speaks to sing in some way.

I’m starting to think: what if she naturally did choir oohs or ahhs, in three part harmony in the back during the exposition?  We strip the original instrumentation from those 8 bars, and she can do the backing in three part vocal harmony.

Right now this seems like a good idea.  I’ll post results later on.

-mnshyn

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