« Hog Heaven at Five »

As far as what is immediately relevant, let me note that my studio, Hog Heaven, is now five years old! Please take a few hours (I know, its a little chatty) to look at the pages about the studio and all the shit I had to put up with before I got a chance to settle into one place. There have been more changes than I care to think of, and that continues right on up to the present. I sold all my ART gear, a few rack units, my Korg Triton, a couple AKG C1000 mics. Partly economic, partly to mess myself up again. In general, it's making me streamline setup and tracking chains, and focusing me on guitar and bass as my principle instruments. Even as useful as HHS has been over the years, I always go and change things anyway.

The first recording I did at HHS was on the morning of June 11, 1998 was the drums and bass tracks to a song called The End Of The Road For Missy The Cow. Tom Griesgraber played bass, and guitar later on. By that point, I had not played drums for about 8 months or so. If I had, none of it went to a recording of any sort. I had been in an apartment for a year and a half, and could not do much of anything there. Sometimes, even headphones made too much noise. So I was bent on getting a solution. Anyhow, Tom and I tracked drums and bass into the VS 880, and that started a rather long streak of recording projects and mindless jams here. In the time since opening, I have used the 880 extensively, the larger VS 2480 and now that I am moved into another room, ProTools LE on a Mac. I went from little or nothing to a rather capable place for doing demos or indie work.

Lately, I have cobbled together some players for a band (mark IV if I am counting right) that so far has not met with success thus far (cough!). Anyhow, two of the guys I have never played with. At 21, Jason Dean is young drummer who has in three meetings, ignited something in me. I know there was some latent creativity there somewhere, but it wasn't happening with the players I had until now. Jason seems to be willing to come down from Poway (about 25 miles from here!) to play some stuff a few times a week. While I don't know all about him or his drumming, for it to wake me up in just a week says something I need to hear.

Michael Klayman is playing bass with us these days. Yep, bass. That is to say, it isn't me playing bass for this project. It's a long story, but I am playing guitar now, and I like it, even though I suck for the most part (people like my ideas, but they cringe to hear me play, or at least I do). I'm just not fluid on it and it's not really the same as bass. I mean, the difference between a 5 string bass that is huge and a 6 string guitar that is sort of small, can be jarring. The string layout is good for a challenge too, making the translation not only from 5 to 6, but the tuning is different too, and I have to play chords! Anyhow, the guitar allows a shorter path between my ideas and my delivery. My co-guitarist is a feller named Jeremy Robinson. He is better than me. That's why he is here. So, we are taking stabs at some hitherto unrecorded or underdeveloped stuff of mine, and trying to breathe life into it. It's a two guitar band, so it's gonna rock. In fact, I might have to put the brakes on the rock stuff sometimes, but it's cool to be on the other side of the drum kit after years behind it. Poor Jason. I hope he can count to 5. Wish us luck.

I have been recording a fellow named Tim Robertson. He has a gospel/contemporary Christian batch of songs he wants to shop around, and we are taking his sequenced tracks into ProTools and adding some acoustic guitar and voice parts. He may bring in more live players to replace sequenced parts, but that's still a ways off.

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