Slight Return…Voodoo Child not included


I haven’t posted anything on the blog for a long, long time. It’s been over a year since I posted my last guitar-related post, and much longer for anything photography related. At this point, I want to remedy this and write piles and piles of everything. However, no one really has that kind of time.

A lot of my hiatus was due to something that I will probably write about, later, and that’s depression. As the world slowly figures out just to what extent depression can affect every aspect of every second of every day, its greatest weapon is removing the joy from things you love. That’s where I ended up for what feels like eons, but in reality, has only been about 3 years. Only…

So, this isn’t a treatise on emerging from the husk of depression. It is more along the lines of rediscovering the pieces of you that have been missing and, for me, photography and everything around it had been missing.

Molehill Mountaining

While I hate “verbing” with a burning passion, the phrase “molehill mountaining” is something that people who live with depression know all too well. It’s the tendency to catastrophize pretty much any and everything. It also is how a small impediment can turn into the mightiest of roadblocks. Why am I going on about depression when I have said I wouldn’t? It’s relevant because of how it plays into the excuses I told myself to justify not doing something I loved because of really thin and suspect logic.

What was my particular molehill? Technology and, in particular, the age of my cameras was the excuse I chose. I’ve used old camera gear for about as long as I’ve not had the money to keep up with the latest and greatest. The last new camera I purchased was the Nikon D70. For those keeping track, the D70, though announced in 2003, was released in 2004. After it died a sudden and emphatic death at around 57,000 shutter releases, I was without a good DSLR for a bit, at which point I purchased a used Nikon D100 for somewhere around $225. This was in 2011 or so, I believe. In early 2015, I purchased a used D200 for somewhere right around that same $225 price point. So, that means for the past 8 or so years, I have used cameras released in 2002 and 2005, respectively.

So, obviously, they’re old cameras, but that doesn’t mean they’re not good cameras. That was really the giant molehill: remembering that it’s the photographer and not the camera. I have good lenses, but two have dust inside the top element. Should that be a show stopper? Of course, not, but when you’re in catastrophization mode, this can feel insurmountable even though it really only translates to a few extra minutes in Photoshop with the healing brush tool. Likewise, I believe it’s the D100 that has managed to get sensor dust that I haven’t managed to get cleaned. Again, not insurmountable, but in the given mindset it’s still daunting enough to bring logic to a screeching halt.

Leaping to the Past Future

Trust me, it makes sense if you work through it. Allow me to explain. I found a D300 — circa 2007 — with only ~14,000 shutter releases for under $200. Said D300 has since been purchased and delivered. I am a very happy man. So, now you should understand the past future-ness. It’s not the newest, shiniest camera available, but it is light years ahead of the D100 in most respects. My biggest challenge? With the D200 being purchased without a CF card cover, it took me more time than I would like to admit to figure out how to open the CF card slot.

It’s interesting, though, how even with a new toy, as it were, I’ve yet to take it out for a test drive and it’s been almost a full week. As anyone who knows me, or who enjoys photography, would tell you…that’s not normal. So, it seems that even overcoming a large chunk of depressional inertia — a body at rest tends to stay at rest — there is still work to be done. No worries, though — I foresee some photographic excursions shortly.


Eargasm Earplugs – worth it?

Spoiler alert – they are.  In spades.  Maybe a whole hand of the Ace of Spades, if you’re into that sort of thing.  …and you should be.  Into it, that is.  The earplugs, I mean.  Bottom line?  If you go to live shows/concerts only once after purchasing these, they will pay for themselves, in spades, and not just aces.


“I am the one, Eargasmatron…” Actually, that’s about as far as we should take the comparison between the seminal Motörhead classic and these earplugs.  One wants to rule the world and one wants to make your concert going experience painless and awesome.  Eargasm earplugs are the latter, and I will say, from experience, they are absolutely amazing.

I hate the phrase “game changer” when referring to anything this side of a momentum-shifting hit at center ice, but, dang it – these are complete game-changers.  So, while I try not to sound too much like an infomercial, we must go back a bit more than one week in time (5/10/2018).


The concert lineup was Týr with support from Obsidian Eyes, Ghost Ship Octavius, Aeternam, and Orphaned Land.  While this isn’t a review of the concert (it was amazing), this is important inasmuch as this was the first time I’d used the Eargasm earplugs in a real-world, potentially ear destroying, situation: the beauty of the  venue, Alrosa Villa, is that from Aeternam’s first note until Týr’s final “Thank you,” I stood about 3 feet from the stage and, more importantly, around 18 inches from the amp stack.  For a quick trip in the wayback machine, this particular situation back in Norfolk’s Boathouse, back in ‘91, would be how I came to have a nice case of tinnitus.  So, I’m familiar with what happens this close to loud things.  In other words, this was an acid test, and I was going for broke.

I am really glad I did.

With apologies to Obsidian Eyes, due to prior commitments and a bit of traffic, we arrived after their set, and in the middle of Ghost Ship Octavius.  Now, they were in mid-song when we cleared the bouncer area and Van’s thunder was churning and I could already feel that feeling of sound peaking and distorting in my ears.  If you’re familiar with metal shows, you know exactly what I’m talking about.  It’s the kind of thing that after 3 hours, you’re going to hear “squeeeeee” for the next 18-24 hours.  I quickly got out the Eargasm plugs and got them in, but it wasn’t correct – they were doing what normal earplugs do: everything became a mud puddle of slightly less loud.  Now, I knew that wasn’t the end result, but since it was a rush job, I didn’t get them in quite right, and so I was adjusting through the remainder of their set and, honestly, it wasn’t until mid-way through the Aeternam set that I got it more right.  It still wasn’t optimal, but I was starting to hear the difference, things were clearer, but still a bit peaked out and distorted.

Then it happened.

I twisted the left one slightly and pushed gently.  It made a *perfect* seal – all other noise fell silent. This was between songs, so, I had a little time. I adjusted the other side, and now I stood looking at the band and hearing nothing but the lead vocalist talking.  Weird. Then, they jumped into the next song, headlong.  That’s when it was obvious why I got these.  My chest was resonating with the thud of the kick, thunder of the bass, churning of the guitars, as had happened up to that point.  However, unlike the previous 45 minutes of music, I could now hear everything – I could distinguish between the two guitar lines, pick out the bass, and understand the vocalist.  It was truly amazing.

“Can Your Hear Me, Now?”

Apologies to Paul and Verizon, but this is the only apt lead in.

The answer to the question is an unequivocal, “Oh, my, yes!”  I love concerts because of feeling the music as much as hearing it, but we all know that in order to feel the music at “concert level,” your ears suffer.  Well, imagine having the feeling of the concert level music, but hearing the music as clearly and painlessly as listening to it at, probably, slightly less volume than you normally listen.  It would be, if we’re to speak in Spinal Tap sound measurements, probably around a 4 on a scale of 1-10(11).  There was absolutely no non-effects-related distortion. I make this distinction because, if there’s one thing metal guitarists pride themselves on, it’s their distortion settings.  There was no cringingly loud and peaky cymbal work.  Quite the opposite – I could hear every splash, every china, every ride, every high-hat.  I could hear Terji’s lead-work intermingle with Heri’s harmonized leads as well as differentiate between the two, spacially – Herji was mixed more to the right side of the stage, and we were stage left.  All the while, Gunnar’s and Tadeusz’ thunder and  more thunder came through clean, clear, and sitting in the mix, perfectly.


So, you’re probably thinking, “Wow….he’s, uh, fanboying just a bit…kickbacks?”  Nope, nothing like that.  I’m not sure it’s “fanboying” as much as feeling that excitement when something completely revolutionizes one of the main reasons you avoid an activity.  In this case, it took my argument of, “I’ll have to wear earplugs that, while protecting my hearing, will turn the concert audio experience into loud mush” and turned it into, “This made the concert enjoyable – the right volume and pretty close to crystal clear.”

With all this in mind, is the extra expense (meaning not $4 foam earplugs that may or may not fall out in the middle of the show turning the mush into screeching horror) really worth it?  While Megadeth asks, “Can you put a price on peace?!” I will reword it a little to, “Can you put a price on keeping your hearing?!”  I left the show feeling something I hadn’t felt after a concert…ever.  My ears were not ringing.  I didn’t feel completely overwhelmed and “burnt.”  These things completely changed my concert going experience for the better, and trust me – I’ve been to enough metal shows to know these are “game changers.”

I know, you’re wondering if there’s anything I didn’t like.  Well, yeah, actually, there is one thing.  The magic filter thing that sits inside the soft silicon earpiece is a little hard, meaning if you hit your ear where it’s sitting, it’s probably going to sting a bit, and after 6 hours of wear, my ears were sore where the filter was sitting.  Remember, though, that’s after *6 hours* of wear.  There are very few things on this planet that don’t become uncomfortable after 6 hours shoved in your ear, so, take it for what it’s worth.  Wearing them during the set and giving your ears a little breather between sets will mitigate this, and get them back in before the next set and you’ll be back to enjoying the concert with very minimal, if any, discomfort.

So, short story long – if you love the concert experience but are afraid that the volume will destroy your hearing, these are definitely worth the money.

Metallica – “Hardwired … To Self-Destruct”

The last time Metallica released a studio album, George W. Bush was still in office.  This release will precede President Donald J. Trump by mere weeks.  So what, right?  Well…it is *8* years.  We were given “Death Magnetic” and we, the Metallica faithful, were mostly sated.  There were production (*mastering*) problems that squashed dynamics and prompted several versions of “remixed/mastered/EQ’d” from the Guitar Hero III stems.  Much better.  So, we come back to today – the official release and while the vinyl hasn’t arrived at the door, the videos links have arrived in the email box.  I did a song-by-song deconstruction of “St. Anger” when it came out, but, sadly, it’s been lost to the mists of history – even can’t find it.  So, I thought I’d do that with this one, the new one, the shiny one, the one where the first three singles gave Metallica fans around the world hope that there might be a return to their thrash roots.  Let’s do this.

The Songs

01 – “Hardwired”

Churning.  A snare that sounds like a snare – that’s a positive.  Very punky vibe, but with enough chugging to make a metalhead happy.  Nice delay on the vocal – well placed and not overbearing.  Nice chorus. The solo breakdown feels like a solo and the post-solo section is solid.  I dig it.  I’m also digging the double-bass.  *Finally.* This has a good vibe to it.  I’m enjoying it a lot.  The slowdown at the end is really nice.  Good song.

02 – “Atlas, Rise”

Decent enough intro. It’s reminding me of the punk-infused stuff we used to get in the early-80s.  Decent riffing.  The vocals are good.  Pre-chorus is a not bad, but serves it’s purpose – it feeds naturally into the chorus.  Chugging is pretty good, lead fill keeps from getting overly repetitive sounding.  This feels NWOBHM-ish and I’m digging it.  The solo starts off like something from “Load.” OK – better movement but pretty wah’d up. However, the harmonized solo is really nice – reminds me of 7th Son-era Iron Maiden.  The ending is solid.  Good song. I can dig it.

03 – “Now That We’re Dead”

Mid-tempo chugging.  I can dig it. Even the drum fills seem to work.  Slow to build, though.  Reminiscent of mid-80s hard rock.  Very simple verse – it works.  Wow – the pre-chorus feels so very 1987.  Nice.  I’m trying to think of who this reminds me of.  Kind of like some of the mid-tempo stuff Armored Saint did around that time.  This isn’t a bad thing.  The chorus is a bit creepy, but nice riff underneath.  It’s keeping things very simple, and it’s working.  The song is growing on me.  The solo is pretty solid – not TOO wah-y with good movement.  Ooh – interesting post-solo crunch.  It’s like what would have happened if “Outlaw Torn” had more bite.  The ending…hmmm…pretty solid.  Another good song.  Cool.

04 – “Moth Into Flame”

Nice intro into fantastic chuggy riffing.  Where’s this been the last couple of albums?  Nice movement under the verse which is also pretty solid.  Pre-chorus bliss!  Really enjoying the riffing. Now that’s a catchy as hell chorus! The guitars are constantly moving.  Nice!  Back to the verse and it’s just got good chunky riffing.  Man.  Well structured song.  It’s funny how it almost *feels* mid-tempo, but sure as hell isn’t.  Oooh, nice breakdown.  Down picking heaven.  Solid bridge that feeds into the solo.  Not a bad solo, either – THIS sounds like KRK.  Nice re-entry riff and double-bass thunder.  Easily my favorite song, so far.  Just beastly riffing riding you off into a crescendo ending.  Excellent song.

05 – “Dream No More”

Doom-y.  Sluggish, but not plodding.  Meaty doom riffs.  Verse…interesting harmony.  Sounds like “The Cure” but is a boatload more listenable.  Pre-chorus is pretty decent.  Oooh.  The chorus *chugs*.  There’s no other way to describe it. So far, the chorus is the the best part.  Still doomy.  Huge sound, though – definitely a good thing.  Middle is pretty good leading to the solo.  Decent solo – interesting slower section, gaining nice harmonization.  Building to something – the sludgy, sloggy chugging.  Cthulhu imagery throughout is always a good thing.  This song will probably grow on me. Right now, it’s a good song.

06 – “Halo on Fire”

Nice harmonized intro.  Harkening back to 1987, it feels like.  Pulling back into a light acoustic trot.  Verse is sung nicely and builds.  The chorus is a little jarring, but gets bigger and is pretty good.  Nice break.  Good tone on the solo – fits the vocals.  The pre/chorus is growing on me.  Middle breakdown riff is nice and chunky.  The bridge is pretty good even with two parts; they work, I think.  Nice chunky riffing after the 2nd bridge.  This sends us into the solo, which starts with some nice harmonization and then pulls to the middle and isn’t too bad.  With the solo over, we riff and then back to a short acoustic break.  Solo 2 – almost sounds like Het’s tone. Nice movement into what was bridge 2 and now a slowly building solo that is over a nice galloping riff.  The ending is really taking off – I like it.  The song ends…and it’s a good one.  I like the movement within the song.

07 – “Confusion”

Marching – which I think is the point.  Crunchy.  It is nice to have a snare that sounds like a snare, again.  Ooooh – fun riffing going on, here.  Slows down to a mid-tempo.  Nice vocals in the verse, and gives way to the chugging which, in turn, gives way to the chorus.  Interesting. Nice transition back to the chugging.  Nice little solo before a solid bridge. Really touching on the PTSD aspect – heavy.  Good transition back to the chorus.  Bridge 2 is driving home the PTSD with a frenetic staccato bit of riffing.  Moves into a neat section that finishes off and drops us into the solo.  It’s not a bad solo – it really conveys a “barely in control” vibe that works.  That is just a sick riff.  Ending  on the marching.  Solid song.  I like it a lot.

08 – “Manunkind”

Acoustic meandering – nice bass working underneath.  Aaaand – heavy!  Mid-tempo?  Slogger?  It’s kind of giving a vibe of both.  Nice groove.  Sort of disjointed riff under the vocals which have a sort of urgency going on.  Feels southern rock-ish, but with a heaver touch.  I like the harmonization – I’m a sucker for a good harmonized vocal line.  Breakdown time.  The bridge is even more urgent, the exaggerated delay helps it out.  Not too bad.  Do we call this bridge 2?  It’s decent enough and leads to the solo which, after started kind of slowly, becomes a sort of wah assault.  It reigns it in to feed back to the bridge 2 thingo.  Very southern groove.  Reminds me a bit of “Ronnie.”  The ending is a repetition of “Faith in man-un-kind,” until it ends.  Not too bad.  This feels like one I’ll have to listen to more to get into.

09 – “Here Comes Revenge”

Definitely setting up a mood, here.  Feels dirty and sludgy.  Gives way to a pretty solid riff.  The solid riff becomes riffier and has a decent hook to it.  Dirty drums, slightly dirty guitar, interesting verse, leads into the what I’m assuming is the pre-chorus which makes good use of riff #3.  Decent chorus with a sort of stop and go thing that ends nicely enough.  Back to the verse.  I like the transitions.  Decent movement in the song.  It’s not dragging.  The hook-y riff gives way to a mid-tempo crescendo that leads into the solo.  Nice riffing underneath.  A more restrained solo that works well.  Galloping towards the end with the hook-y riff with some nice double-bass work underneath with the dirty, wah-soaked guitars we heard in the intro.  A solid song.  I dig it.

10 – “Am I Savage?”

Starting slow with clean tone and understated bass and drums.  Gets dirty quick.  Not bad – building towards a really sludgy riif.  This feels like something Sabbath – mid ‘90s Sabbath – would churn out.  And we now just hopped into an interesting off-tempo walking/talking part.  The chorus is decent.  Returning to the doomy, sludgy riff.  Definitely a sloggy feel, but not draggy.  The off-kilter pre-chorus is disconcerting which, I’m fairly certain was the point. Honestly, it has a “Loverman” vibe to it but, thankfully, is a vastly more interesting song.  Oooh – sludge.  The breakdown leading to the solo is chewy as hell.  Nice solo work – it’s a nice counterpart to the riffing underneath.  As it heads to the end, it chugs along, and I do mean chugs.  Pretty good – I definitely to listen to it more.

11 – “Murder One”

Nice clean tone interrupted by a fairly urgent heavy interruption.  Main riff is pretty fluid and gritty.  Interesting – the verse and vocals are pretty solid.  Pre-chorus? Bridge? Chorus?  Not sure.  Leads back to the verse. This takes me back to 1989.  It’s got a good vibe.  We’ll call that the pre-chorus – it compliments the chorus well.  Oh, my.  Well, hello, Kirk. A jarring solo, with very little transition.  It settles down and then feeds back into the pre-/chorus.  A decent hard rock groove feel.  I’ll have to listen to this more to get more of a feel for it.  It doesn’t feel as strong as most of the songs, but it’s not bad. We shall see!

12 – “Spit Out The Bone”

Frenetic intro – drums, bass and guitars chugging along and after a brief pause uses that riff to take us to a bit of machine gun-ish riffing.  Interesting melody interspersed.  Now it’s a homogenized, sick riff.  Hello, angry verse!  Barked lyrics with speed chugging underneath.  I really dig that main riff.  Need to harmonize it, though.  Man, this is moving.  There is a definite urgency, but not haphazard.  Breakdown to Rob’s solo. Cool.  Leads back to some more gymnastic riffing.  Digging the bridge and here we go into KRK land – the first part of the solo is kind of like the rest in terms of wah, but churns down to a nice slower, melodic solo.  The middle section is really nice.  New riff – solid.  Slowing down a touch with some chugging. I can dig it.  Slower still chugging.  What’s it building up to?  ‘cause it’s building!  Ooooh – channeling some of the Kill ‘em All energy, this solo is much more satisfying to me.  Enough old and new Kirk working together to make for a solo that works.  Frantic chugging and barking vocals – angry Metallica is good Metallica.


Wow.  I’m a bit drained.  That was a killer ending to a solid effort that had many more high points than low.  Actually, come to think of it, I don’t really recall there being anything that could be considered a “low.”  To be completely honest, “Am I Savage” might be the weak track on the album, but even there – if that’s your “weak one,” I’d say that’s not too shabby, at all.

The riffing

There is plenty of riffing to be had.  Wow.  From open to close, there’s no shortage of chunky, chewy, ripping riffs that all work well with the songs and don’t feel forced.  What I mean is that some of the “speed riffing” on “St. Anger” seems like it was put in with the intent of showing us they were still heavy.  It felt like they were trying too hard.  This?  This sounds like a natural, organic album where there riffs don’t feel forced.  Even some of the riffing on “Death Magnetic” felt a little shoehorned.  Not here.

Review / Summary

I’ve been having a hard time NOT jamming to this album.  From the opening notes of “Hardwired” to the last shimmer of reverb at the end of “Spit Out The Bone,” it’s nonstop.  It’s funny – I read some comments, somewhere (I can’t remember where…) that the album had four ballads.  I’ll have to check my impressions of the songs, above, but I’m pretty sure there’s not a single ballad on this album.  There’s a dynamic that offers a good balance of “acoustic-y intro” to “all out thrashing,” so that might have been what they were talking about.  I don’t know.  What I do know is that this is the most consistent and solid album since, if I’m to be completely honest, “The Black Album.”

What about production?  I gave Metallica endless amounts of crap for something that wasn’t their fault, last album.  “Death Magnetic” was butchered in mastering to a point where all dynamism was flattened out and it was a wall of sound with no nuance.  What do we have this time around?  Well, it’s not mastered to death, thankfully.  Now, when the first three singles hit, I noticed there wasn’t much by way of “air.”  I had hoped that it was like the “The Day That Never Comes” where the album version was much more alive than the single/video release that just seemed dry and brittle.  Well, “Hardwired…To Self-Destruct” is much, much better sonically.  My only complaint is the aforementioned “air.”  It’s still pushed pretty hard and you can hear the compressors groaning under the might of the riffs.  That said – it’s so much better.

So?!  Was it worth the wait?  Eight years is a darned long time.  I’ll admit that really pushed the expectations high.  I wasn’t thrilled with “Lords of Summer,” but it wasn’t bad, so there was hope.  Then the date getting pushed back and pushed back.  But, it’s here. It’s tight.  It’s solid.  It’s a *Metallica* album.  It’s not “Master II” nor should it be.  This is a more mature thrash but there is thrash to be had.  So, I’ll say it’s worth the wait, but implore the fellas not to make us wait this long, next time around.

“17 Rules for Governing My Country”

Well, Big Don.  You did it.  You won the big chair.  It’s time to put on some big boy pants and act like an adult who understands the situation you’re now in.  You’ve just become my President Elect, soon to actually be my President.  That’s right – *my* President. I’m not happy about it.  It’s a lot like getting Cruella DeVille as your new adoptive mother.  Still, he’s been elected and, so, here we are. 

That said, there are some conditions you should know about that might give me, and possibly other Americans, some glimmer of hope rather than wishing for a giant meteor to destroy the Earth.  These are not in any particular order ’cause I’m really tired and my thinker is wibbly.

1) Humanity over corporations. Period.  If this doesn’t make sense to you, then just peel back the fake human mask and reveal the Lizard Person that people have started to say you are. I didn’t say *I* thought you were a lizard person.  Your eyes don’t blink in the correct direction.

2) America has always been great, even if you were too myopic to notice — don’t try to fix what isn’t broken.  Just…ease off the accelerator, Sparky. There ARE things that are wrong, but your 100 day “plan” looks like a recipe for civil war, so, um…let’s not, yeah? Bring in your big thinky advisors and look at the big picture rather than telling your new constituency what you think they want to hear.

3)  Fix what’s broken.  And, no, that’s not the ACA. It’s not immigration. It’s not gay marriage. If you can’t figure out what it is, when I’m not dead tired, I’ll fill you in. If you fly me in, we can discuss it, in person.  I’m down for that.  You in?

4) Treat people with respect.  You’re in a position where people are watching you — a lot of people, some of whom have nuclear arsenals.  Let’s not say something off-the-cuff to get us wiped off the globe, ‘k?

5) Women matter. Reproductive health matters. Access to Planned Parenthood really is a good thing.  Just ask Mr. Pence what the elimination of Planned Parenthood did for Indiana.  Hint — it involved a dramatic rise in HIV cases and LOT of STDs.  Yay, Gonorrhea!

6) Hell, let’s be frank — your plans to repeal gay marriage and the ACA will destroy so many American lives it’s almost unfathomable.  Is THAT how an American leader leads? If you promise to bring America together, then let’s start by not immediately tearing it apart. No good will come of this.

7) You’re going to have to sit on your hands when you give speeches.  I’m getting more dizzy than with Herbert Walker. (This is more or less tongue-in-cheek, but really…reign it in a little, please.)

8) For the love of all that’s holy in this world, *stick to the script.*  You’re going to have speech writers who will get paid a LOT of money to make sure you say all the right things.  You know why people poked fun at W? When he went off-script, well, it was kinda train-wrecky, at times.  Oh, and keep the swearing to a minimum.  While the 12-15 year-old white male demographic thinks it’s cool and funny to drop the “F-bomb” on something that will be seen by billions, those of us with a higher than 6th grade education (since studies show your speeches were delivered at a 6th grade level…just going with the stats, man) think it’s a bit crass for the leader of the free world.

9) Stop spreading fear. Just forget about your wall.  Forget about the idea that it’s the undocumented that are making the problems in the US.  Remember, they paid more in Federal Taxes than you did.

10) Eschew the associations with the KKK and neo-Nazi groups.  Now.  Before people start asking a lot of hard questions like, “Does this mean you support these domestic terror groups?”  You know…those kinda questions.  Just do everyone a favor and tell David Duke to shove it where the sun don’t shine.  It’ll be easier to not be labeled “racist,” “Hitler,” whatever the kids are calling you, these days. Remember – unifying the country, not tearing it apart.

11) If you’re itching to repeal something, repeal the Patriot Act. Since most of it has been deigned unconstitutional by various and sundry courts, I’m not sure anyone would be terribly sad to see it go.  All the gee-whizzery from the NSA existed before, it just wasn’t put into law to legitimize the complete disregard for our citizenry or the constitution.  The time and energy would be MUCH better spend shoring up the absolutely porous governmental computing systems.  You wouldn’t have had 1/2 the ammo for this campaign if people knew how to set up proper intrusion countermeasures and were given the budget to implement it. So, you know…before someone gets into *your* emails.

12) Don’t make the mistake of galvanizing *all* the terror groups outside the US by trying something as foolish as deporting “all the Muslims” from the US.  You want to know why certain segments of the world’s population hate the US? Do that and you won’t have to wonder, anymore. Again – and you may sense a theme – UNIFY the country, don’t tear it apart.

13) Don’t keep stoking the xenophobic fires.  Aside from San Bernadino, you know how many of the acts of terror on US soil were actually perpetuated by actual Muslims and not freak-pie, radicalized pretend Muslims? Hey – I said *aside* from San Bernadino (bearing in mind they were US citizens…). One, and he probably qualifies as “freak-pie” and/or “radicalized.” In the *history of terror attacks on US soil,* only one.  And that was the Florida night club, last year.  So how’s about this – worry about our domestic terror groups (you know, the ones you’ve not distanced yourself from) and stop putting into every easily influenced American’s mind that Muslim == terrorist. If the logic is that “it could be any one of ‘them’,” then, by all means, let’s deport all the domestic terror threats starting with the KKK, the Aryan Brotherhood, oh, wait – does that mean any white American could be a terrorist.  Damn it.  And here I was thinking we were supposed to feel safer.  So, see – we need to unify our country, be a little less panicky and judgey and lot more in tune with what the underlying causes of the unrest are, motives for terror attacks are and all that jazz and start working on THOSE problems rather than causing more by just being weirdly focused on one group.  Oh, and I don’t want to hear “most terror attacks ARE carried out by Muslims!” Why not?  Because they’re carried out in bloody Iraq, or Afghanistan, you know…countries where Islam is the primary religion.  We’re not condemning the Jewish people in the US based on the actions of Isreal and Palestine, are we?  Are we?  

14) Nuclear war is not something to joke about. Ever.  It’s not something to even consider.  Ever.  It’s the global equivalent of saying “BOMB!” in an airport, nowadays.  You may have a death wish, but I do not and I’d prefer you not make THAT decision for me.  Okeydoke?  The Cold War sucked.  Big time.  Let’s not fire that up, again.  Oh, wait —

15) Putin is NOT your friend.  Remember that.  You, at this point, my good sir, are his puppet.  He played this election like a “harp from hell” to borrow a phrase from our favorite unhinged denizen of the cold and dark, Oswald Cobblepot.  So, just remember, when he says he’s looking to “renew relations with the US” after you take office, that’s a clever euphemism for “test the waters and see how easily you can be manipulated.”  Trust me.  Who do you think paid the hackers who gave you the emails that submarined HRC?  So.  Does this mean that as soon as you start to look like a strong leader, you’re going to get torpedoed, too? If I were a betting man, I’d almost guarantee it.  Don’t let that happen.  We already have relations with Putin and his pals. There’s no need to give him the keys to the White House.

16) I mentioned that ACA above.  Despite what you and far too many people with not enough Google skills believe, the ACA isn’t what’s driving up insurance premiums.  It’s a two-pronged attack on American healthcare being perpetrated by Big Pharma and douche canoes like Pharma Bro who think that’s it’s just good business to price an important drug out of the range of those who need it most – and that’s not capitalism, it’s being a shithead. The other side of this two-pronged attack comes from the other unregulated entity, the insurance companies.  With a CEO pulling down $66K A FREAKING HOUR, I’m pretty sure keeping the premiums a little lower won’t hurt the insurance companies more than the drain of their CEO’s greed. Americans want to know why their premiums went up – well, you need to tell them, “Because of the insurance industry’s unmitigated greed.”  So, instead of repealing the ACA, how’s about looking into regulating the insurance industry and their routine fucking over of the common citizen and come up with ways to modify and massage the ACA into something both good for the people and acceptable to the people who think that everything’s Obama’s fault.

17) Alternative energy sources are your friends, and not the invisible ones that throw tea parties in the attic at night.  Instead of promising the coal industry a return to black-lunged glory, why not invest that same money in not only green(er) energy, but workplace training for those workers who could then work in the green energy industry and, perhaps, not die of black lung, and pensions for those old enough that workplace training really isn’t an option who will, odds are good, need to look into what the ACA offers.  You know, take care of Americans AND not completely hose up the environment. If you keep insisting on this Fracking crap, that Midwest that helped you carry the vote is going to sink into the crust of the earth just because Big Oil has its claws so deep into our political system – the one you said you’re going to completely turn on its ear.  So, seriously, dude.  Call up Elon Musk, have a sit down, and come to understand that Big Oil is only in it for themselves and don’t give two shits about you or our country.  

There are more.  I am too tired to come up with them.  Bottom line?  Don’t fuck this up. I know…I got on you for “strong language.”  But, seriously…as much as I want to, I can’t hope for you to fail, utterly, because that would take down the country I love and believe in.  I can, however, hope that you come to understand what it *really* means to be President of the United States and look at it with the seriousness it deserves.

Recent Production Trends

So here we sit at the cusp of something we, the Metallica faithful, have waited for, patiently-ish, for 8, yes *eight* long years.  So, what’s the first thing I do?  I complain.  I know – I’m trying not to because, well, honestly?  The first three singles represent the best metal Metallica has put out for decades.  So, then, why be a whiny, complain-y guy?  Well, let me preface it by saying it’s not directed at Metallica, specifically.  They just happen to be the most recent band whose album is mixed with something missing – the high end.

Now, there’s high end.  I know that.  The cymbals are crisp and the guitar solos have bite.  That said, what they don’t have is “air” or “breathing room.”  What?!  What am I talking about?  I’m talking about that lift in the upper frequencies that actually allows *everything* to have a little more room to shine.  I’ll have to demonstrate because I’m not sure my brain is equipped to parse it all out intelligibly, right now.  So – let’s look at things that will help me explain.


This is where I noticed it, first.  So, here’s a sonogram of how it is without the little tweaks I give it to give it air and more – in my opinion – life.


You’ll notice there is a lot of blue at the top.  That’s where the “air” lives.  It seems like a small thing.  I guess that’s where my frustration came in.  It was obvious to *my* ears – why was it not obvious to the mixer, producer, mastering engineer OR anyone of the fellas in Metallica?  My second frustration came from the fix taking, literally, under a minute of fiddling with my standard Mastering Bus plugs.  How much of a difference could it make?  This is what it looks like when I kick in the plugins:


You’ll notice there’s a TON more in the “air” frequencies.  You’ll also notice that there are more hotspots within the other frequencies, as well, meaning they’re getting more space and you’re able to hear them.

I have taken both versions – the original mix and my re-EQing and intertwined them.  You can hear when the blanket is lifted and then is there, again.

[Hardwired — Comparison]

As you can hear, there’s a marked difference.  Now, I tried to match volumes as closely as I could, but there are a couple spots where they’re crossing over where it gets a bit louder.  The thing is, it’s not rocket science.  That’s what is frustrating to me.  On the track, itself, I just hit it with an EQ that took out some resonant points that became obvious when opening up the top end.


Then, on the master bus, I used FabFilter’s Pro-L and Pro-G, Slate’s Virtual Mix Rack and T West’s “After” which, if I may say so, is one of the handiest little filters out there.  Here are the settings:

image  image


and image

So, as you can see – there’s no voodoo involved.  It’s just tweaking here and there to expose more of the depth.  It’s not just this track, though.  Of the three singles released, “Atlas, Rise” needed the least amount of high-end massaging.  So, I’ll go on record saying to Metallica – Hey! I’ll fix those for you! and then move on to the song that really started me listening more critically to new releases.

Mirror.  Neat band, good talent, good producer (I mean it – he’s got a great pedigree), but muted and muffled production.  I had a little row with someone about it and their point was that the band *wanted* it that way and that it sounded “retro.”  I guess he could be right, if by “retro” he meant demo tapes from the mid-70s.  I can understand a band wanting a warmer sound than the almost sterilized, clinical mixes that have been coming around, as well.  I can.  I appreciate the warmth and tone of older recordings.  What I have a hard time getting past is when there’s *no* high end, no opening up and it all sounds muddy.  Now, this isn’t perfect – it’s re-EQing for demonstration purposes.  Obviously, I could make a better comparison with the actual stems and remixing it, that way.

[Mirror – Galleaon Comparison]

So, I guess my real question is *why?*  Why have so many good albums been mixed/mastered with no “air” to them?  I mean, I’m listening to Anthrax’s “All of Them Thieves,” and Jay Ruston did a great job capturing the music *and* giving it room to breathe.  So, what is the decision making process?  I have a hard time believing that a band would listen to something with dampened high end and decide that’s how they wanted their hard work to be presented.  I could be wrong.  There could be something charming about it.  It just all feels to me like when Nevermore sent “Enemies of Reality” to Andy Sneap to have him re-mix/master the album because the high-end clarity was missing.  Their hard work wasn’t showcased, completely, and with some love – and air – “Enemies 2.0” was sent out from Century Media and all was well.

In conclusion, I guess it melts my mind a little when we have hard work put in by musicians, hard work put in by the mixing engineer, hard work put in by the producer and hard work put in by the mastering engineer – but it still sounds like it’s buried under a layer of silt.

The Continuing Saga of Erin

I’ve talked with some people about mixing/producing “Erin,” by Brendan Loughrey, and it comes up, often, that I’m not completely happy with the album as it is available, now, via iTunes, Amazon, Google, CDBaby, and so on.  Now, that is not to say that I think it’s a badly produced or mixed album.  My dissatisfaction, actually, is largely because I’m a freaking perfectionist, for one thing, and secondly, and most importantly, we were in a time crunch and I don’t think I gave Brendan’s music that he poured his heart and soul into enough time, love or attention.  There are some mixers out there who would say that three to four weeks was ample time to mix 13 songs and, on some level, I concede that fact.  That said, when you’re learning things from the ground up and having your utopian little mixing world turned upside down as you encounter things you’ve not had to work with before, a month is nowhere near sufficient. 

I think what I’ll do, here, is a track by track look look at challenges that each track introduced and how, now, in retrospect and in practice with new attempts at mixes, have addressed them.

Track By Track

01 – Tiocfaidh Ár Lá

If you look up the definition of “Irish Rebel Rock,” this should be the definition you find.  Full of vitriol and bite in the original versions you can find smattered across the youTubes, this song lost some of that when we recorded and produced it.  It sounded…produced.  Weird, right?  Well, part of the charm from the originals that was missing were doubled vocals and some fairly yelled.  Now, we didn’t record any that were that up front, no yelling.  That said, we did several takes.  So, when listening to the version on the CD, it always felt…softer…than I wanted.  Part of that is the violin.  It adds a lot to the song, but also introduces a kinder, gentler dynamic.  That’s OK – it needed a little polish, especially since it’s to be featured in the film “Dougherty,” later this year.  Anecdotally, it would seem they chose to use, at least for the trailer, the version of the song from YouTube.  I’d rather they use the version I have, now.

So, the biggest challenge was keeping the bite while giving it some polish.  There were other factors involved, but what I have in front of me, now, is a much better mix, in my opinion.  Also, I believe I was able to get better dynamics out of it, as well.  The waveforms look better and are only marginally different when played at the same volume, back to back, with the new mix being ever so slightly quieter…maybe 0.5dB, tops.

Finally, and this was just a personal “I wonder if this will sound good” addition, I placed Liam Neeson’s delivery of Michael Collins’ quote about “refusal” leading into the music.  I think it worked.

The CD version of the song:


The new mix:


02 – I Believe

“I Believe” is a fun romp that will get your toes tapping and your hands clapping.  Seriously.  It’s a fun song and it’s got a lot going on, even though it’s just the guitar, bass, vocals and drum.  Brendan’s strumming style is actually what opened up some challenges, this time around, as it tended to eat the high hat with the sound of the strum.  Equally problematic, the drums sound, to me, like “metal” drums and not necessarily, “Irish Rebel Rock” drums.  When it went to press, I felt the vocals were too far forward, the dynamics of the drums were less than I wanted and the drums, themselves, sounded too “big,” if that’s the right term; they just didn’t fit, to me.  I didn’t know what to do with with, then.  The more I tweaked the vocals, the more the guitars disappeared.  The more I tweaked the drums, the more subdued the vocals got.  The more I pumped the bass into the mix, the more everything got overwhelmed really quickly.  So…

I wanted to try the multi-take, vocal doubling on this, as well.  It wasn’t really as good, in a lot of ways: it actually lost power – softened it up, a bit. So, I basically just worked on stereo expansion at the “power points” in the chorus.  My problem is, I don’t like how a lot of the stereo expanders sound, so I knew I couldn’t just apply it to the main vocals and go.  I ended up copying the main vocals out four times, setting them at –100, –45, 45 and 100 degrees, respectively, and applied volume automation to make them come in at the correct times.  It sounds fairly seamless, which is what I was going for.  I also just had a problem with just how dry everything was, except for the drums, which leapt out of the mix, so this time, the big focus was balance.  I think I found it while still retaining a decent dynamic range.  There’s only a miniscule difference in volume between the two, but this is a MUCH better mix.

The CD version:


The new mix:


03 – Lyrics of Your Own

This was a hard song to get a handle on.  First and foremost, the snare on the CD version, in the intro, is harsh, snappy, way too forward and kind of painful to listen to.  On the release, though, the vocals were just about right.  Actually, pretty much everything else with the song made me really happy as it got sent off to press.  It all came back to the snare, for me.  Well, that, and the overall volume pushing and lack of dynamic range.

So, what I set about to do was get that snare reigned in – mostly an EQ issue, as the “honk” tone was really what stuck out, to me.  From there, it was just getting everything to sit nicely in the mix and balance each other out.  Thankfully, like I said, I was pretty happy with the one that went to press, so there wasn’t really a lot to do.  Now, it just came down to keeping the dynamic range in check.

The CD Version:


The new mix:


04 – Happy Days

A nice, shuffl-y, groovy song that, really, my only kibitzes revolved around how out front the vocals are and how overly pumped the whole song was.  Well, that, and I really wanted to give it drums that didn’t sound like they would be at home in an Amon Amarth song – they just didn’t fit, to me.  That, and we made the executive decision to cut out the whistle because I didn’t know how to wrangle it into the mix without just cutting through and stabbing your ears.  I wanted to see if I could put it in, in some capacity.  The dynamic range, as was the case with mostly everything, needed a little caressing, as well.

So, a lot of re-balancing and EQing.  I also wanted to give it more depth and give the vocals a bit of reverb.  I ended up with light reverb almost all around, but mostly on the back edges, since it wasn’t really a song that needed much more than just that little sprinkling of depth.  The whistle fit in, but needed automation.  I ended up with it coming in during the intro and then, sparingly, during the chorus.  It seemed to fit and work pretty well.  Overall, I like the balance a lot better and I reclaimed some precious dynamic range in the process.  I also tweaked the bass a little to give it more of the “precision” sound.  It fits well.

The CD version:


The new mix:


05 – I Quit Drinking

Another romp of a song that could very easily be a country hit, if given the chance.  This song was a bear, mainly because it is such an upbeat and busy song.  There’s a lot going on with the high hat.  There’s a lot of strumming.  The bass guitar line is rocking.  That said, the vocals had to be pushed hard to stand out in this mix and the bass was a different bass than was used on a lot of the songs and cut through with aggression to burn.  So…dynamic range was out the window with this one when sent to press and I cringe when I listen to it, now, hearing the vocals crisp out, or the guitars get a little thin or the bass crunch.  So, really, the challenge was to get the song to the same level of energy and at least close to the same volume without pushing the song into the realm of absolutely pumped out.

So, I had gone the route of a billion tracks in order to give the vocals some beef without compressing the hell out of them, and, well…I trimmed those back down.  A compressor here, a limiter, there, and it started to sit well, together.  The one thing that I started doing was not only mixing in mono, but without anything on the master bus – leaving the mastering to…the mastering.  It was interesting, though, because the song didn’t have much punch, that way, in mixing, but I could hear where everything was sitting and could make sure everything could be heard.  Now, in this case, to squeeze this for everything it was worth, I have less dynamic range than I would have liked, but it’s still much more shapely than what we shipped and, volume-wise, they’re close, with the CD version winning every time.  That’s OK – this still rocks and I don’t hear anything sizzling, crisping, crunching or otherwise cringing under the weight of the compression.

The CD Version:


The new mix:


06 – Another Year

This track is why I started writing this blog entry, originally.  It was Brendan’s brother Barry’s birthday.  The crux is that Barry died 15 years ago, leaving Brendan with a huge hole in his heart and what, after hearing the story behind it, is a very hard song to edit.  If there was a song you just want to *be*, it’s this one.  So, criticizing it, in any way, is hard, too, because of how close it is to the heart, anyway, so it was something I tried very hard to make “the perfect track” (there’s no such thing…) for Brendan.  I, ultimately, wasn’t happy with the result.  Sort of the same reasons that have been cropping up – the voice a bit too up front, the flute was almost invisible, there was a note on the guitar that was just off.  I’m glad Brendan went with the thunder in the beginning – he was initially afraid it would draw quick comparisons to Garth Brooks’ “Thunder Rolls.”  That said, I did a poor job transitioning that into the beautiful guitar and violin parts on the album version.  So, bottom line – this song deserved better and I was going to give it a go.

What I really wanted to do was get it to where it was right after the first listen with Brendan after we did a rough mix with the violins.  For reference, it hit everyone and was pretty emotional – we were all awestruck at how much that violin added.  The mix on the album, though, I don’t feel had that same raw, emotional feel.  So…how to capture that – that’s the question.  I think I did.  We’ll see.  There’s not a huge difference in waveform or dynamics because it wasn’t horrible, it just needed finesse.

The CD version:


The new mix:


07 – Pack Your Bags

I’ve described this track a number of ways – freight train, monster, behemoth, and so on.  The bottom line is that it is an absolutely huge track with a massive amount of sound, the proverbial “wall of sound,” if you will.  Basically, I was happy with how it ended up on the album, but, again, vocals that were a little too up front and there was a deplorable lack of dynamic range.

One of the biggest challenges, and why the vocals kind of stick out more than I wanted to, was because the vocals employ a good deal of dynamics, themselves, moving closer to and then away from the mic, giving it enough variation that just picking a level and going will lead to one line being way too soft – almost unintelligible – while the next line will blow your ears out.  The key was automation and taking the time to learn some different techniques, as well, for making vocals thicker and louder without crisping them out.  I started looking into other methods and found an interesting method by which I wrote a vocal track with a rider to an automated track.  This gave me a leveled, partially processed track that didn’t sound as forced or crackly as what I had gotten when trying “normalization” techniques.

The biggest challenge was something that I discovered with compression on this track for the CD – the more one thing gets bumped, the more something else disappears.  It was really frustrating to try to get each element to sing on its own: the voice, the guitar, the drums, the violin, the bass and the bagpipes all needed room to breathe and it was really crowded.  This time around, I used a bunch of different methods, but the thing I really tried to do was make sure the frequencies weren’t battling it out.  The guitars and violin are the main challenge, as they occupy a lot of the same frequencies and I couldn’t just use ducking because of the strumming style on the guitar – it would ALL be ducking. So, I just shifted where they were in the sound field and it seems to work pretty well.  The waveform doesn’t look a whole lot different, but there is room to breathe – though, not much – so there’s, to me, at least some feeling that I brought some dynamic range to this monster powerhouse.

The CD version:


The new mix:


08 – Most Days

This was a song that was much easier to work on before knowing the stories behind it.  It’s wasn’t as much from the “oh, man, what a downer” or anything along those lines but more from the same standpoint as “Another Year” and that’s wanting to make it perfect.  Of course, that is the bane of any mixer/producer’s existence, that fabled “perfect.”  In this case, though, I was really happy with the overall feel of the song.  The violins were perfect.  The voice was emotive, though, again, forward for my tastes, and the drums didn’t sound like they were borrowed from Arch Enemy.

So…again, the main focus, here, was getting the vocals to sit better in the mix – and the mix allow them to sit and still be heard clearly – and to get the dynamic range back because even for a ballad-esque song, this baby was pretty beefed up, signal-wise.  So, my goal was give the mix enough headroom that everything was crystal clear but still able to amplified, tweaked, compressed, you name it, and still maintain a good waveform with dynamic range.

Now, it’s quite obvious the new mix is quieter.  It’s consistent with the rest of the album thus far, though, and I prefer the more sedate version where I let the vocals get crisp – gruff, even – in a couple of spots.  I could have used automation to “iron it out,” as it were, but, you know what?  This is such a visceral song when it comes down to it…I don’t see it as out of place.  I would actually pay money to have a version of this where Brendan duets with Tom Waits.  At any rate, the drums don’t sound “metal,” the bass is still quite present, the guitars carry through and the violins soar while Brendan croons, which is as it should be.

The CD version:


The new mix:


09 – Jack

“Jack” is another jamming song full of vitriol and catchy hooks.  It also had, when we sent it to press, vocals that were too far forward, drums that sounded a bit too “metal,” and, again, very limited dynamic range.  That said, this is a song that is meant to be in your face and pushy.  So, there was a balance I had to find with it to give it aggression as well as a mix that had gotten a bit more massaged and opened up a lot.

The vocal rider wasn’t as necessary, but was a good first step.  I was able to trim down from my original attempt to beef the vocals without over-pushing them, which ended with 10 parallel tracks at different pans with different levels.  So, it was nice to have only two tracks – main and the reverbed background vocals.  The drums just needed a little massaging since they needed to have the power they had, but needed more life.  Reverb on the snare brought that out.  From there, it was just a matter of getting things to sit, properly and not overwhelm each other or disappear, completely.

I managed to keep the apparent volume almost identical.  By apparent, I mean, obviously, it’s reduced in the overall dB output, but it still *feels* loud and in your face enough to be considered “Irish Rebel Rock.” 

The CD version:


The new mix:


10 – Sweet Road

This is a song that would fit perfectly playing in the background of a bar scene, black and white, with a man holding a glass of whiskey – Irish, of course, alone while the rest of the world bustles around him.  Capturing that feeling was my primary goal and I feel like the album version falls short, in that regard.  Again, a lot revolves around the vocals.  In addition to them being too far forward, I missed a LOT of distortions – mainly as a result of pumping the 44KHz audio further than it should have been – that, for me, took away from the overall feeling of the song.  That said, I could see how some distortion in the voice could definitely add to the song, giving it more of an air of that desperation that would fit.  Unfortunately, it was the peaky, crispy distortion that makes me cringe.  Also, the drums were too “metal” and the bass could have used some EQ shaping.  So, what to do, what to do…

My main goal was to give roughly the same volume while dialing back the vocals to a point where they fit well and sound good and opening up a lot more dynamic range throughout.  I felt the vocals needed some reverb, too.  Not the 80s “every song sounds like it was recorded in a cathedral” reverb, but some plate reverb to give it a little more life and breath and fill in some of the hollow parts of the mix.  The snare needed some reverb, as well, to help it poke through the guitars.

The “perfexion” mix sounded a LOT more polished than the CD version, making it sound more like a demo, something that makes me both happy and sad.  I wished I had been able to give Brendan *this* version for the CD.

The CD version:


The new mix:


11 – Tattooed on My Tears

This song was really fun – it’s a great song, with a great vibe and great movement.  The violin shines, the drums fit nicely, the guitar sits well, the bass is rock steady and the vocal line is really engaging.  So, what’s my problem with it?  Like the previous song, I have a hard time listening to the CD version because the vocals are a bit too up front, but more important, are victimized by distortions and compression issues that came from only having a limited experience in trying to get the vocals out front.  Now, it’s sort of another wall of sound song, inasmuch as just about all frequencies are spoken for at one time or another.  That said, there was still “space,” and it needed reverb.  Not whooshing reverb, but some life to the vocals, snap to the snare and maybe some delay/verb on the violin to just make it pop.  There was also a need for dynamic range because, well…the top waveform looks like a little stuffed sausage.

The most important part of “perfexion” was to get the vocals to work – and be loud enough – while keeping everything else in balance.  I think it turned out nicely, and, again, wish that this was what I could have given Brendan on his CD.

The CD version:


The new mix:


12 – What’s the Use?

Another song that would fit perfectly in a bar scene, it’s another one where I listen to mix and feel sad that I wasn’t able to do better – the bass is audible, sometimes; the guitar sits nicely, but doesn’t have much personality; the violin feels like an afterthought and the vocals are a bit far forward. 

So, again, the challenge was to keep the perceived volume in line with the CD version while giving each instrument its own voice and space within the mix and still having breathing room in the dynamic range.  In actuality, the violin actually fit better In a more background capacity, this time, and fit well, while still adding depth.  Overall, I really like how the new mix sounded: more subdued but, in my opinion, more powerful than the CD version.  I think the biggest change was simply pulling the vocals back a little, but also reigning in the drum so that it wasn’t making the overall track compression go a little overboard.  I reclaimed a bit of the dynamic range and gave it to the guitars.  I think it worked a lot better.

The CD version:


The new mix:


13 – Old Ireland

A slow building rebel-rock tune, this builds in volume and energy from the beginning to when the first chorus kicks in, bringing the full force of the song to bear.  If it weren’t for crisping out of the vocals and a little bit of “burying” in the overall mix, I would say this is one of the ones I was most happy with on the produced CD.  My main complaint was that the “reentry” portion of the song lacked enough dynamics to give it a lot of power.  By re-entry, I mean where the song lulled to a slow drive and then jumps back into the full-bore, driving, song. That said, I really like the “perfexion” mix a lot.

I EQ’d the drums a bit better.  I put reverb where it needed to be – mainly the snare.  I reigned in the volume a bit, but without stifling any of the energy.  There’s a lot to be said for a CLA76 thrown into the mix, so to speak.

The CD version:


The new mix:


In summary, “Erin” was an amazing album to be a part of, and I’m forever grateful for the opportunity.  My only regret is that I wasn’t able to give Brendan that album I feel he deserved because I didn’t have the skill he needed, then.  I’m glad things are changing and I’m learning a lot and producing better music and, like I said, I’m so grateful for the learning opportunities and experience.  Oh, and as a bit of a shameless plug, you can find Brendan Loughrey’s “Erin” on Amazon, CDBaby, GooglePlay, iTunes, and from Brendan, himself when he’s at shows. 

Maybe, at some point, I’ll play the new mixes for Brendan, if he wants, but for now, I’ll keep refining and learning – not necessarily on these songs, but will be getting to a point where if there’s a new album to record, or simply wants a remastered version of “Erin,” I can give him what needs and what I wanted to give him, the first time.

Oh, the PMRC…

Apparently, it’s the 30 year anniversary of the senate hearings revolving around the Parental Music Resource Center, or PMRC, spearheaded by Tipper and, championed by Al Gore.  After having listened to a very level-headed and well-spoken Dee Snider, of Twisted Sister fame, if you were unaware, these are my thoughts, looking back.

I would have had a lot less restraint than Dee had at these hearings. It would have been hard not to ask Al and his completely self-righteous asshat delivery (sorry…he just sounds like such a tool when he thinks he’s asking Dee "hard" or "gotcha" questions)…it would be hard not ask,

"Why do you care so deeply, Mr. Gore? Is it because you don’t believe you’ve equipped your daughters with the ability to discern for themselves what is good for them or to decide for themselves what is offensive to them? Have you not instilled in them a moral compass determined by their own values of doing the right thing on their own without a parent holding their respective hands? Why are you afraid your daughters won’t make the ‘right’ decision?"

As a metalhead and a father of two metalheads, there’s one thing that kind of carries through all of this — words have the power we give them. Period. I’ve instilled in my boys the ability to think for themselves, ask questions and determine for themselves if it’s offensive, challenging to some belief they hold and if it is, why it is. It’s not rocket science but it’s not considered particularly good parenting to a lot of folks, since I’m not filtering what they learn through my fingers around their throats. Control is control, understanding is freedom. Two of my favorite memories are of my younger son singing along, from his carseat, at the top of his lungs to "Dreaming Neon Black" and my mom coming back from a trip to the store with my older son and saying, "Well, I didn’t think I’d be buying this album, twice 20 years apart" as she shows me the "Master of Puppets" CD my son asked her to buy for his birthday.

It’s not about shielding and protecting and deciding for our children what we keep from them based on what offends us. I was raised very Lutheran. Pretty much anything that came onto WNOR was considered … evil. It took a lot of convincing to bring home the Creeping Death picture disc, but it also put the trust in me and in what I’d been taught. I’d say I turned out pretty well, though I swear a lot…again, words have the power we give them. That said, I have tried to keep my boys well clear of misogynistic or degrading crap, but that just goes along with teaching kids the value in all people. To that point, though, it’s about equipping them with the ability to understand and cope with those things they encounter outside of our protective, often stiflingly so, wings. I’m proud to have raised two boys who enjoy music for music first, lyrics second and message when it suits. It’s the difference between teaching our children how to think rather than putting a subjective label on a record and telling them what to think.