Archive for August, 2014

lukey has drums

Bass has joined mandolin and Irish Bouzouki at the post. Three instruments down. Only two tracks have any instruments left to record here at Supervillain Studios, mostly drums. If all goes as planned, we’ll move onto vocals and final mixes next week.

Drums haven’t reached the post yet, but are getting there. Lukey’s boat has drums, but… they aren’t entirely sorted. I think I need to simplify this drum track a bit:

I like them as a separate thing, but they aren’t quite settling properly into this mix. But where they’re simpler, they settle in just fine. Spent a lot of the evening working on getting them closer, though. We’ll see.

a Seattle film institution wants to go non-profit

Scarecrow Video has been a Seattle institution for many years. It started as a video rental store – and still is one – but it was owned by the kind of crazed film fanatics who run a business primarily as a way to build the biggest collection of things imaginable. The original owner was the sort of person who would fly on an hour’s notice to former Soviet republics on the rumour that he could get a SECAM videotape copy of a particular obscure Stalinist-era Belorussian film. And half the time, he’d return with it.

Despite having one of the largest film collections in the world – possibly the largest in the world – video rental doesn’t cut it anymore, so they’re going non-profit. But that’s expensive, too, so they’re launching a Kickstarter to make it happen. Go help.

I started renting from them when they were next to J&S Phonograph Needles in Roosevelt – yes that was a store for phonograph needles it didn’t make much sense then either – and remember when they moved to the U. District, on 50th and Roosevelt. They bought out what used to be the biggest Radio Shack ever, a multistory building with its own screening lounge and everything.

This is a small fraction of their collection.

It’s pretty damn cool, and it’d be a disaster to lose such a comprehensive film collection – particularly as it is actually available to the public. Even the exotic stuff can be rented and/or screened – they have multiformat players available, too. In some cases, they have one of only three to four copies of films still in existence, and you can see it. That’s the kind of collection this is.

I’ve known one of the current owners for a long time; this project is a big deal for them, too. So go help them flip that switch to non-profit. As I write this, they’ve made 60% of goal in a day, thanks in no small part to The Onion‘s AV Club. Let’s see if we can’t get them there by tomorrow, eh?

and now mandolin

Mandolin has joined Irish bouzouki at the post.

There’s a lot of blue on this board now. Three tracks are at Release Candidate stage. Call Down the Thunder/Hail the Seelie Court is about to be the fourth.

I want to say bass is done on Lukey, but can’t yet. It’s recorded and timed and I think I like the EQ and effects stack, but I’m not convinced it’s finished. And I will use some automation on the levels, but that’s part of final mix, not track mix, even though it’s applied to the track.

It’s the kind of bass track that can make a song. It’s exciting. I wish it was plucked standup bass rather than electric, but it’s still good on electric. I just hope it isn’t overlooked, though, being, well, bass won’t show up much on laptop speakers.

It’s me and Primus and nobody much else for reasons, reasons which I ignore and carry on, because I am foolish and impractical.

But whether people hear it on laptops or not – it’s still good.

Yahoo! can bite my Shiny! Metal! Ass!

Yahoo! broke all the mailing lists in the world. The traditional kind, anyway. Not so much announcement-only lists, but the discussion kind.

Basically, as a result of their changes, Yahoo! people can’t send mail to mailing lists and have it delivered to other Yahoo! addresses. Or Google addresses (tho’ I read conflicting things about that and haven’t tested), or AOL addresses (definitely), and probably a couple of others. Technical details are at Computer World.

And they’re sticking to their goddamn guns. It’s been like this since April.

There’s a patch to mailman, the software which powers our mailing lists, to work around this. It also sticks the sender’s From: address into the Reply-To: field, adding it to whatever else might be there, and you can’t turn that off. So all replies to any message on discussion lists get doubled to the original sender. That’s idiotic.

I’ve written local mods to our mailman installation – thank you, open source – to stop this. And to change the From: line so that it contains a recoverable version of the sender’s email address. So if you had mail from, say:

From: Derpy Herfy <>

It now gets changed to:

From: Derpy Herfy [badideas at] via My Mailing List <>

…and it doesn’t get added to the Reply-To: field, so that doesn’t get broken.

I fought like a rabid dog to stop Microsoft SMTP engines from treating email addresses like this. It was a multi-year fight. I won, in part, because it was someone had a wrong idea about what was good behaviour.

Now I’m doing what I fought against then, because it’s the only way to get the mail through.

I hate you so much right now, Yahoo! – you are BREAKING THE GODDAMN INTERNET, and you’re doing it in ways I kept Microsoft from doing.

There are not enough punchings in the world.

eta: the code changes are trivial. Take ’em if you want ’em. Note the source version information at top!

making things difficult

The problem with being a multi-instrumentalist is that you’re always a bit out of practice with everything. It’s pretty annoying, to be honest. But I still like the half-a-bassline I came up with last night, even if it’s all sloppy.

I’ll need to do something different for the two bridges, though. It kind of modulates the key a couple of times. Because hey, why not?

I’d like to say mandolin has joined irish bouzouki at the post, but I’m not sure about a thing, so I can’t. Not quite. I mean, on principle, I assert that overdrive is not only for GEEtars and can totally be used on mandolin. And it sounds kind of cool. But in the mix… I’m not so sure yet.

It may be interacting with the overdrive I’m using on the zouk. That, I’ve done before. (See also: Kaiju Meat. Three sets of overdrive stacked atop each other. It was awesome.) I hope not, that’d be sad. I really want this to work. I think it will, with enough nudging.

If you didn’t play the Run Like Hell preview, why the hell not? Go play it.

all irish bouzouki tracks are complete

All Irish bouzouki tracks for Bone Walker are recorded, comped, and have basic equalisation/compression/mixing settings applied.

Irish bouzouki is first to the post.

preview track: run like hell

It won’t have this name on the final album, but listening to it tonight, Run Like Hell seems to me to be a pretty good title for this preview.

Lots of guests on this one now. We welcome Alexander James Adams on percussion, Ellen Eades on hammer dulcimer, and Sunnie Larsen on fiddle. The faux-cello and faux-double-bass are, of course, faux, made by me out of an extra mic on and blasphemy done to Ellen’s dulcimer.

This track – in its entirety, anyway – is a release candidate. While it still sounds pretty good on my laptop speakers in testing, if you have a headset or a subwoofer, use it.

Oh, and me, I’m on irish bouzouki, mandolin, tubular bells, faux bass, and faux cello, the latter two with Ellen Eades.

Alexander James Adams appears courtesy Sea Fire Productions. Production at Supervillain Studios, Kenmore, Washington except for Alexander James Adams recording at PhantaSea Studios, Wisconsin.

comp sheet

Imma just leave this here.

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