Thank You -2007!!!
2007 was an amazing year for us! We've blasted through some pretty difficult psychological barriers (us vs. us) and have seemingly come through [to the other side] with more lavish, flowery ideas and loads of energy to share with you in 2008. Please accept our sincerest gratitude for supporting The GO in so many ways... we're humbly at your service, always. There's so much music out there! Here: the internet; a billion bands/groups/artists posting messages and music continuously, endlessly. Thank you for listening to what we have to say.
We make music because we love to - and record music, compulsively, because we're addicted to some kind of trembling, electric vibration that triggers a chemical overload...
you know what it is. We suffer from the same affliction.
One single note, played on a guitar, and connected through an electric current can speak volumes; say more in a millisecond than Hemingway did through his entire life. Anyone who doesn't understand that statement hasn't yet experienced the moment where electric music causes a person to trip, frozen in time. Odd, to say the least. It' abstract! Chuck Berry was an abstract dude. The sound ignites the imagination and that causes every multidimensional avenue to open instantly... certainly because the sound of an electric guitar is so urgent and commanding, I guess. Who knows?
Let's say this: It's much like a download, maybe. In a flash you've got everything. That's why it's so important to work on the electric sound representation of acoustic music. Acoustic music is only actual and literal when standing in a room with a piano and it's sound reverberates into the cochlea. Once a microphone is placed, the piano becomes electric through the microphone's circuitry. Therefore, any modern recording could be considered a mere representation or interpretation of acoustic music. Of course, that's everything!
Understanding that means a world of opportunity has been unlocked.
The importance of this realization is that, when working with microphones and recording machines, the music becomes interpretive. The mind interprets the music reverberating in the "live" room and the microphones and recording devices are the tools by which the interpretation is recreated.
When listening to a Jimi Hendrix recording, aside from technological limitations, the result can be attributed to the engineer's and producer's imaginations. They are the ones who were interpreting the sound of the Jimi Hendrix Experience and committed the abstract impression to wax. Jimi's guitar, for example, on Purple Haze most definitely did not sound like it does on the record, if one were standing in the room at the time he was recording there would be an obvious, audible difference.
This is where we unlock the infinite possibilities. I mean, it's only magick.
So, to be clear, first the spark... then, the wildfire.
Forever in a moment: We read everything. We notice everything. We respond to everything.
Martin Rev, discussing the current rock climate, said that, "Rock & Roll has become interpretive." No, it hasn't. Music has always been interpretive. For a group like Suicide, judging by their second release, I imagine the trouble being that it was unconsciously attempting to interpret itself. That, in itself, is quite literally suicide. Much like a mirror image of a mirror is madness. The songwriters should interpret their world or emotions, as the band interprets the songs, as the producers and engineers interpret the sound, as the audience interprets the art. No time to become self absorbed. Incidentally, I love Suicide's second album.
So Hemingway, I hear ya... but I got this electric vibe creepin' up my spine and it's distracting the shit outta me! It's the difference between a beautiful wild flower struggling upwards through a crack in the pavement. Oh! Morose! I stop to admire but there's suddenly a thunder-clap in the sky, and I have a tendency to look up when that happens.
Now, if that thunder-clap turned me on, got me high, inspired me, electrified me, spiritualized me, identified me, lobotomized me, equalized me, and turned me loose upon the world to terrorize the tracks with psychedelic ideas that span a lifetime...
that pretty much sums up Rock & Roll.
Interpretive?
Notice the reflection of the sea...
it's merely an interpretation of the sky,
and everything that happens in between
is captured behind my blinking eye.
What am I?
What does all of this amount to?
In a world where 99.9% of modern Rock & Roll is reduced to a meaningless past-time by over qualified critics with a constantly annoying "been there done that" attitude... it's really up to the artists to get a grip on the sound of their own recordings. Ask anyone over 40 years old and they'll tell you, "It's all about the songs." That statement, of course, is a massive misconception.
It most certainly is NOT all about the songs but IS absolutely all about the sound.
Song lyrics are constantly misinterpreted and, in my experience, the listener usually prefers their version. The musical arrangement of a rock song can go many different ways, but Peter Gabriel's Genesis will simply never out-shine The Kingsmen's Louie Louie. How strange!
I've had a lot of young artists write the website and ask different questions about recording techniques, over the past 12 months. So, this is my blog to hopefully send some inspiration out there. In 2008, let's focus on the sound of our recordings. Let's listen to our favorite records and really nail it. There's no shame in applying the same techniques as the greats!
Those engineers at EMI really knew what they were doing... and they were brilliant!
If it sounds good; it is good! Over compressed (pumping) drums are exciting!!! So what if it's considered a gimmick of the 1960s. Gimme a break! "Natural" sounding drums are boring.
Have we learned nothing from Joe Meek?! All of this technology at our fingertips and we should use it to make our music sound more normal? Not in my lifetime!
My best suggestion is this: Search eBay for the largest encyclopedia that you can buy. It will probably have every volume, A to Z, between two hard covers. I know it's a relic but I'm sure they're still out there. Okay, bid high because this is an essential studio tool! Pay attention!
During your next studio session, you may have to refer to this book several times. At the moment where your hired engineer deviates from your imaginative vision of just how colorful your sound should be, I want you to ask him why he's imposing his will upon your recording.
If, by chance, he offers any other reason besides the fact that he has temporarily taken a mis-step and is deeply saddened by the result... I'd like you to refer to the encyclopedia. Casually remove it from the inconspicuous brown satchel next to the orange, velvet easy chair. Stroll over to the mixing desk and drop it on his fingers. He will, most likely, scream and curse you right off. You mustn't back down. Whatever you do, offer no explanation what so ever.
But, maintain eye contact.
He will whimper and this will, possibly, disrupt the session, but only temporarily. This valuable ritual may be repeated as often as you deem necessary. You'll find that his shrieks and vile obscenities will subside in due time. After 12 or 13 drops of the encyclopedia, he will begin to appreciate the value of your recordings. Don't be surprised if he learns to enjoy the process.
I've actually began studio sessions, first thing in the morning, with several drops of the encyclopedia. Be careful though! You don't want it to escalade into an all night event. You'll need your REM sleep and you don't want some bucket-head engineer calling you at 4am for a quick drop. Out of the question! Let him know that YOU are the boss. Establish right off that you're very busy and sessions will begin and end at designated, scheduled times. No exceptions.
This, my friends, is an age old formula for a successful session. It's never been officially documented in any recording memoir, but I happen to know that Geoff Emerick suffered many fractured digits during the recording of Revolver. And don't get me started on those poor engineers who worked with little Stevie Wonder! Broken toes, dislocated shoulders, concussions... Don't feel too sorry for them though; they had it coming.
All for the love of Rock & Roll.
We absolutely adore your comments and ideas!
Thank you, everybody, for giving us a 2007 to remember!!
We look forward to your thoughts and sentiments in 2008.
Thanks everybody!
Love Always,
Bobby Harlow
The GO
We make music because we love to - and record music, compulsively, because we're addicted to some kind of trembling, electric vibration that triggers a chemical overload...
you know what it is. We suffer from the same affliction.
One single note, played on a guitar, and connected through an electric current can speak volumes; say more in a millisecond than Hemingway did through his entire life. Anyone who doesn't understand that statement hasn't yet experienced the moment where electric music causes a person to trip, frozen in time. Odd, to say the least. It' abstract! Chuck Berry was an abstract dude. The sound ignites the imagination and that causes every multidimensional avenue to open instantly... certainly because the sound of an electric guitar is so urgent and commanding, I guess. Who knows?
Let's say this: It's much like a download, maybe. In a flash you've got everything. That's why it's so important to work on the electric sound representation of acoustic music. Acoustic music is only actual and literal when standing in a room with a piano and it's sound reverberates into the cochlea. Once a microphone is placed, the piano becomes electric through the microphone's circuitry. Therefore, any modern recording could be considered a mere representation or interpretation of acoustic music. Of course, that's everything!
Understanding that means a world of opportunity has been unlocked.
The importance of this realization is that, when working with microphones and recording machines, the music becomes interpretive. The mind interprets the music reverberating in the "live" room and the microphones and recording devices are the tools by which the interpretation is recreated.
When listening to a Jimi Hendrix recording, aside from technological limitations, the result can be attributed to the engineer's and producer's imaginations. They are the ones who were interpreting the sound of the Jimi Hendrix Experience and committed the abstract impression to wax. Jimi's guitar, for example, on Purple Haze most definitely did not sound like it does on the record, if one were standing in the room at the time he was recording there would be an obvious, audible difference.
This is where we unlock the infinite possibilities. I mean, it's only magick.
So, to be clear, first the spark... then, the wildfire.
Forever in a moment: We read everything. We notice everything. We respond to everything.
Martin Rev, discussing the current rock climate, said that, "Rock & Roll has become interpretive." No, it hasn't. Music has always been interpretive. For a group like Suicide, judging by their second release, I imagine the trouble being that it was unconsciously attempting to interpret itself. That, in itself, is quite literally suicide. Much like a mirror image of a mirror is madness. The songwriters should interpret their world or emotions, as the band interprets the songs, as the producers and engineers interpret the sound, as the audience interprets the art. No time to become self absorbed. Incidentally, I love Suicide's second album.
So Hemingway, I hear ya... but I got this electric vibe creepin' up my spine and it's distracting the shit outta me! It's the difference between a beautiful wild flower struggling upwards through a crack in the pavement. Oh! Morose! I stop to admire but there's suddenly a thunder-clap in the sky, and I have a tendency to look up when that happens.
Now, if that thunder-clap turned me on, got me high, inspired me, electrified me, spiritualized me, identified me, lobotomized me, equalized me, and turned me loose upon the world to terrorize the tracks with psychedelic ideas that span a lifetime...
that pretty much sums up Rock & Roll.
Interpretive?
Notice the reflection of the sea...
it's merely an interpretation of the sky,
and everything that happens in between
is captured behind my blinking eye.
What am I?
What does all of this amount to?
In a world where 99.9% of modern Rock & Roll is reduced to a meaningless past-time by over qualified critics with a constantly annoying "been there done that" attitude... it's really up to the artists to get a grip on the sound of their own recordings. Ask anyone over 40 years old and they'll tell you, "It's all about the songs." That statement, of course, is a massive misconception.
It most certainly is NOT all about the songs but IS absolutely all about the sound.
Song lyrics are constantly misinterpreted and, in my experience, the listener usually prefers their version. The musical arrangement of a rock song can go many different ways, but Peter Gabriel's Genesis will simply never out-shine The Kingsmen's Louie Louie. How strange!
I've had a lot of young artists write the website and ask different questions about recording techniques, over the past 12 months. So, this is my blog to hopefully send some inspiration out there. In 2008, let's focus on the sound of our recordings. Let's listen to our favorite records and really nail it. There's no shame in applying the same techniques as the greats!
Those engineers at EMI really knew what they were doing... and they were brilliant!
If it sounds good; it is good! Over compressed (pumping) drums are exciting!!! So what if it's considered a gimmick of the 1960s. Gimme a break! "Natural" sounding drums are boring.
Have we learned nothing from Joe Meek?! All of this technology at our fingertips and we should use it to make our music sound more normal? Not in my lifetime!
My best suggestion is this: Search eBay for the largest encyclopedia that you can buy. It will probably have every volume, A to Z, between two hard covers. I know it's a relic but I'm sure they're still out there. Okay, bid high because this is an essential studio tool! Pay attention!
During your next studio session, you may have to refer to this book several times. At the moment where your hired engineer deviates from your imaginative vision of just how colorful your sound should be, I want you to ask him why he's imposing his will upon your recording.
If, by chance, he offers any other reason besides the fact that he has temporarily taken a mis-step and is deeply saddened by the result... I'd like you to refer to the encyclopedia. Casually remove it from the inconspicuous brown satchel next to the orange, velvet easy chair. Stroll over to the mixing desk and drop it on his fingers. He will, most likely, scream and curse you right off. You mustn't back down. Whatever you do, offer no explanation what so ever.
But, maintain eye contact.
He will whimper and this will, possibly, disrupt the session, but only temporarily. This valuable ritual may be repeated as often as you deem necessary. You'll find that his shrieks and vile obscenities will subside in due time. After 12 or 13 drops of the encyclopedia, he will begin to appreciate the value of your recordings. Don't be surprised if he learns to enjoy the process.
I've actually began studio sessions, first thing in the morning, with several drops of the encyclopedia. Be careful though! You don't want it to escalade into an all night event. You'll need your REM sleep and you don't want some bucket-head engineer calling you at 4am for a quick drop. Out of the question! Let him know that YOU are the boss. Establish right off that you're very busy and sessions will begin and end at designated, scheduled times. No exceptions.
This, my friends, is an age old formula for a successful session. It's never been officially documented in any recording memoir, but I happen to know that Geoff Emerick suffered many fractured digits during the recording of Revolver. And don't get me started on those poor engineers who worked with little Stevie Wonder! Broken toes, dislocated shoulders, concussions... Don't feel too sorry for them though; they had it coming.
All for the love of Rock & Roll.
We absolutely adore your comments and ideas!
Thank you, everybody, for giving us a 2007 to remember!!
We look forward to your thoughts and sentiments in 2008.
Thanks everybody!
Love Always,
Bobby Harlow
The GO