Keith Handy 1.999

Questions from internetland: amps and mics for lead guitars?

Reader and musician/music enthusiast Jordan Hoek chimes in with a question:

I really like the lead guitars in workers theme, undue strain, and broken wheel. What amp do you use, and what kind of effects do you use? Could you go into more detail in how you record it? Just stuff like, mic positions you generally use, how loud you put the amp, and whatever else.

I almost never use amps or mics for lead guitars! I know it’s sacrilege, but I have a lot of fun simulating amps. There’s such a diverse range of tone you can get with a few effects and adjustments. I’ll tell you one trick that I use a lot, to make it a little more “live” sounding: I use a good deal of compression BEFORE the distortion and/or cabinet simulator. This gives it more sustain and almost feedback-y sound. Also you can have more sustain with less actual distortion this way, and have long, sustained notes without turning the tone of the guitar into a total square wave (i.e. still have some guitarish “character” to it and not need to make it “metal”).

My current chain of effects for lead guitar tracks in Tracktion: multiband compressor set to only compress the midrange, resonance filter (with resonance set to zero) to act like a noise gate with a more interesting roll-off at the end of notes, an equalizer to give a pre-distortion midrange boost (inspired by Brian May), the amp simulator (includes distortion), and finally, subtle touches of chorus and reverb.

For Workers’ Theme, since it’s a remix, the lead guitar was done within the last year or so and I used a special stored combination of effects I have set up within Tracktion. There’s a YouTube video of me playing it, too, and I punched in a short section using slide instead of fingering… and I had a capo on the first fret, because I guess I wanted to be able to occasionally hit open strings, and the music is in F minor.

For the last part of Undue Strain, I actually used my Crate amp (80 or 100 watts, not a huge amp), probably at a medium-ish volume, and an SM57 hanging in front of it. Using an amp is extremely unusual for me! This was about ten years ago. I’ve never been careful about mic placement, so I’m not the person to go to for tips on that; I’m guilty of just putting the mic “somewhere close” and then using EQ to get the tone where I want it.

For Broken Wheel, I was recording on one of those digital portastudios, and used a built in amp simulator, but probably tweaked it a bit. And I think I used one or two foot pedals before the input; I know I at least had a slow phaser on it. Sometimes it’s interesting to put an effect like that before the distortion, because it puts some randomness on which harmonics get emphasized by the distortion. I did takes both with a slide and with regular playing, and made a composite from bits of both. I remember sort of trying to go for a “Momentary Lapse of Reason” sound there, though I don’t know if I pulled it off. ;)

How I simulated amp tone in the mid to late ’90s

Before I had access to good amp simulator effects, I got reasonably passable tones just using an equalizer after the distortion. The main thing you have to do is completely filter out the upper frequencies, anything over 4K or so (so it doesn’t have that “buzzing bee” tone), and scoop out a big chunk in the middle somewhere too, so you’re left with an emphasis somewhere in the higher midrange (anywhere from about 2K to 4K), and then another lower one somewhere. Sort of an “M” shape. Even using a wah-wah pedal left in one position will kind of give you an interesting tone.

Thanks, Jordan, for letting me post your question!

P.S. - in the early 1990s, when I was struggling through my first solo project, I borrowed one of these and used it for most guitar parts.

String binding

After a quick Googling of “keep guitar in tune”, it seems like there are too many incomplete answers out there, so I’d like to address a specific case of the problem that I’ve put up with for years.

If the guitar’s intonation is basically decent overall, and the strings have already been stretched, but a.) strings shift flat immediately after bending, and b.) strings shift sharp immediately after pushing down the tremolo bar, this is a problem called “string binding”. It means there’s just enough friction in the grooves of the nut to prevent the tension from completely evening out on either side of it. When you bend, a tiny bit of string slides away from the headstock towards the body and “sticks” there. The reverse is true for a whammy dive. It’s not subtle; in fact, it can make the guitar outright unplayable unless you just strum chords and stop trying to play rock star.

For those of us who want to play rock star, Sound On Sound has a great little paragraph tucked away in an obscure article from a zillion years ago. Scroll down to “NON-STICK GUITAR NUT”. Key points: 1.) It’s not supposed to stick. (I actually wasn’t sure if it was supposed to “not stick” or “stick better”, but the former seems more logical, since we do actually have to turn the tuning pegs now and then.) 2.) People with graphite nuts are lucky. And last but not least, 3.) you can lubricate your nut — on your guitar, gutterbrain — by “placing a single layer of plumber’s PTFE tape over the nut before you fit your next set of strings”.

(You can of course trim the tape if you’re vain and superficial.)

To all the people out there who list “strings being too old” as a cause of bad intonation, what universe are you living in? Strings may lose a lot of their timbral majesty when they get old, but in my experience they don’t become harder to keep in tune. Maybe it’s harder to hear if they’re in tune or not because they have such a dull sound?

Basslift (or “bacial”)

Since my studio has the approximate brightness of a cave (after sundown anyway), my best bet to get a pic of my newly painted bass tonight was to take it out in the hall, under the flourescents. (Having flourescent lights inside my studio is something I’m sort of dead set against, though I would like it to be brighter overall.) What you probably can’t tell from this picture is that the body is a shiny metallic silver. The black parts are flat (not glossy). The head was originally going to be silver too, but it wasn’t flattering to my shitty putty job. The back of the neck is still a dark woodgrain, not an ideal match for the black and silver, but I didn’t want to mess with it and risk making it harder to play.

It’s still an “old generic piece of shit” — I paid $50 for it, and told the clerk at House of Guitars I was doing them a favor by improving the overall aesthetic of their store — but it’s my workhorse for bass lines, and I’ve gotten tons of great use out of it. I took it to Buffalo this weekend while visiting my parents, along with some spray paint, masking tape, and wood putty to fill some of the cracks. My father got involved with the project, and was very helpful. I did all the preparation, and he did all the actual spraying. My mother was then gracious enough to let me boil the strings on her stove, even though I’m not sure she understood my explanation (I’ve been boiling bass strings to revitalize them for as long as I can remember).

I wanted to document the whole thing, but just doing it was satisfying enough. Expect to see the newly improved bass in YouTube session videos in the future! You can of course check out my existing bass vids to see what it looked like before.

What did we learn today, kids?

What if I wrote a blog post every single time I did a recording session? It would be sort of like a “what I learned today” thing, like at the end of any given episode of Fat Albert or Davey and Goliath.

I didn’t really intend to replace the bass and drums on every single song in my rock opera, but when you’re doing an inventory on the state of your remixes, and the bass guitar is within arm’s reach and already plugged into the board, and hey, the camera is right behind you so you might as well turn that on too… you know how it goes.

So, hmm… what did I “learn” from this one? What was the “moral”?

The lesson is: always give yourself a “thumbs up” of encouragement just prior to a take!

One thing I like about these Through Forbidden Black Doors session videos is that they make the songs actually look playable. By humans. Somehow, having originally done so much on a sequencer, I’d probably given myself and everyone else the opposite impression.

I don’t intend for the Chamberlain (Mellotron) sample to sound like a real flute player, but it would probably be a good idea to ride its volume a little and add a touch of delay to give it a more “trippy hippie fantasy” quality. Maybe also scrunch a few of its more metronomic sounding notes closer together, to loosen the overall rhythm and open some “breath spaces” between phrases.

The John Lennon t-shirt was a thoughtful gift from my friend’s mother, but somehow I get the feeling it was designed by someone who spends more time listening to Motorhead.

Happy Easter!

Eye candy for the day

Low tech eye candy, that is: Tupperware instruments…

Originally spotted on Homemade Noize.

Happy Friday!

Possible video: creating drum parts

So far I haven’t scripted any of my YouTube demonstrations, but I think for something like this it would be good to plan out what I’m going to say instead of babbling like I normally do. Instead of being a talking head facing the camera, I think this would be a voice-over while I focus on the computer screen, my hands on the keyboard, and occasional cut aways to glorious drummers of yesteryear. Since I may not get around to actually making this one for a while, I’ll share the script with you so you can watch it in your mind.

The writing style here contrasts a bit with my usual blogging style, in that, I’m trying to not “over-write” my sentences and make them more clear… not so much “dumbing them down” as cutting out all the little linguistic curlicues and somersaults… such as phrases like “linguistic curlicues and somersaults”. You get the idea.

Hi, my name is Keith Handy, I’ve been recording my own music for over 20 years, and in this video I’m going to show you how I record drum parts. There are lots of ways to do that, but this is one approach that works really well for me lately. It involves using samples.

Sampling in general just means using sound that has already been recorded. A sample can be a musical passage, or it can just be a single note. It’s common for people to sample a measure or two of drumming and just loop it. Personally, I find loops too monotonous, so I like to build up drum rhythms from scratch using individual hits.

Quick little back history here: I started getting into music in my early teens, which was in the early eighties. While my friends and I were just starting to lose our musical virginities to the warm, organic sound of classic rock bands like The Beatles, The Doors, Pink Floyd, and Led Zeppelin, the pop landscape was being taken over by the cold, mechanical sound of sequenced digital keyboards and drum machines, particularly in dance music, which I found really irritating. I was totally on the anti-drum machine bandwagon. I felt like a hypocrite, though, because I preferred the clean sound of a studio recording to the sound of real live drums in a practice room. This forced me to admit that at least on some level, I preferred a “fake” thing over a “real” thing.

Fast forward to the 1990s — my band breaks up, and my attempt to form a new band is a dismal failure. I had to keep moving forward with my music, though, because it was either that or gouge my eyes out with a grapefruit spoon… so out of necessity, I caved in and bought my first drum machine. By that time they were getting more affordable, and sounding a little more realistic, so I could make rock rhythms with fills, crashes, and other variations… which might not have fooled any drummers, but could at least create enough of a drum-like impression that a listener could suspend disbelief if he wanted to. The Yamaha RY30 drum machine got me through the 90s, and I pretty much milked it for everything I could get out of it.

Sometime around the turn of the millennium, my old friend and former drummer Thom DeLooze happened to leave his drum set at my studio for several months. During this time, I set them up and recorded myself playing them for a couple of hours. The results of the session weren’t outstanding, because I’m not a drummer, but bits and pieces of it were useable with some patching up. A side benefit of doing this, though, was that I could raid this recording for individual drum and cymbal hits, which I now use in my sample library.

These aren’t the “biggest”, “baddest”, or “most awesome” drum sounds in the world, but they’re drums. I think if you want music to sound “big”, “bad”, and “awesome”, that has to come from how instruments combine together, not from how they sound individually. And the fact that these are recordings of me hitting actual drums with actual sticks, in a weird way, gives them a sort of roundabout authenticity.

I have a different sound assigned to each key on the keyboard. I have several slightly different versions of the snare, hi hat, and ride cymbal, because if you’re going to play the same drum or cymbal several times in quick succession, it’s more realistic if it doesn’t sound identical on each hit.

I didn’t have any good, isolated ride cymbal hits from the session, so I had to steal those sounds from elsewhere. And there’s one crash I use that’s from a different session, different drummer, and different set. But the rest of the drums and cymbals were all me hitting Thom’s set.

On one key I have a soft snare drum roll. This is the only one that cuts the sound off when I release the key. The roll sounds good in a fill once in a while, and it’s more believable if I hit a loud snare or tom tom at the end of it.

The roll is fake… I can’t actually play a roll. I edited a bunch of quiet snare hits together to make that.

And last but not least, I have this guy counting to four. I’ve had this guy’s voice on a cassette since the dawn of time, and I keep finding ways to sneak him into my music, like a recurring theme. I don’t know who he is, but I’m sure he’s dead now.

A really nice thing about modern recording software is that audio recording and sequencing are integrated into one application. This is a godsend for those of us that like to record our parts all out of order, i.e. doing acoustic instruments first and then sequencing the electronic stuff, which I wouldn’t have dreamed of doing ten years ago.

Before I begin working on drum parts, I definitely want to have a tempo grid in place. If the bars and beats don’t line up with the music in my tracks, then I won’t be able to take advantage of quantizing, which means automatic correction of timing. If I’ve imported older projects into the software, or if I started recording the song without a click track, I have to fiddle with tempo changes throughout the song until the barlines match up with the music I already have. This isn’t as much of a nightmare as you would think; it’s actually pretty easy once you’ve done it a couple of times.

Once the tempo of the project and the actual tempo of the music are in the same universe, I’m ready to begin recording a drum part. I’m not recording audio, I’m recording MIDI. So instead of seeing a waveform in the new track, I’ll see a piano roll. Any note I’ve played can be dragged to the left and right to make it play earlier or later, or up and down to a different “note”, which in this case means it would play a different drum sample. I can cut, copy, and paste it, change its volume or length — in this case, the length doesn’t affect anything, because my drum sounds are set to ignore the release of the key, and always play the entire sound — and I can use the pencil to draw additional notes.

Instead of trying to play the whole keyboard as a drum set, I break it down into simpler tasks. I usually focus on the kick and snare first, since these sort of define the beat. I always quantize drum parts. It may sound sinful, but if you’ve ever tried to play a totally kick-ass drum rhythm on a keyboard, you soon realize it was never the right tool for the job; the keyboard is just not ideal for precise rhythms the way a drum is. So I think of it less as a “performance”, and more as “entering notes in real time”. Typically, you would quantize to the nearest “16th note”, or “nearest 1/4 beat” as it shows here, but if there are any flams or triplets, I have to work around them and deal with them separately. Also, in the case of notes that were played too sloppily initially, I have to check to make sure they weren’t corrected in the wrong direction.

Generally on the second run-through I’ll add hi hat or ride cymbal. When it gets to the point where I’m adding fills and crashes, I reach a point where I’m doing less playing and more drawing. I just go by my ear; if I’m listening back and I hear it differently in my head than what’s coming off the playback, I’ll just hit stop and edit the bar I just heard to better match what’s in my head. It’s like what a painter does; you start off with something broad and rough, and then you spend a lot of time examining and finessing the details.

I don’t like to give my imaginary drummer three arms. Maybe it would sound perfectly fine, but I like to try to stay within the constraints of playability. For the same reason, when I used to do more bass parts on a keyboard, I avoided playing notes below the low E. So if I add a crash, I generally erase the hi hat or ride cymbal on that beat. I’m old fashioned that way.

Eventually, I declare it to be done, and render the track. This means the software converts the track from a sequence — that is, a piano roll which only triggers the drum samples — into an audio track containing an actual waveform of the complete performance. This means I can’t twiddle with the individual notes anymore, but it also means the software won’t have to work as hard to play it back. It also forces me to commit to it, so I can let go of it mentally, and move on to other things.

Overall, I’m pretty happy with the end result, but in the near future I’ll probably make some adjustments to the sounds I’ve been using. The kick drum in particular is a little “harder” and brighter than I’d like it to sound. I think I’ll rearrange the keyboard layout so the most commonly used sounds are all on black keys, because those are easier to hit rhythmically. Just for variety, I’d also like to create some alternate drum sets using sounds from records, or making beatbox-type drum sounds with my mouth.

So has this technique of using a MIDI sequence to trigger recordings of actual drum sounds, hit by myself with actual sticks, muddied my moral dilemma about “real” vs. “fake” from twenty-some years ago? I think the bottom line is this: it has nothing to do with our tools and techniques. “Real” is about doing it all in the right spirit.