SANIC: An Album-A-Day Project with Mason Kline

So I don't want to get too verbose about this, because the point is more or less to do it and not think too hard about it. Mason Kline and I got together one Saturday with a DIY drum kit (cajon, snare, hhihat, stacked crashes, random metal things), a heavily modified P-Bass (split pickup routed to separate outputs tuned G-C-G-C), and Ableton Live and recorded a bunch of music based on these absurd pieces of #BadSonicFanArt on Twitter and Tumblr. In short, it was a great success. You can listen to it below, or check it out here:

In some more detail: an Album-A-Day is a project that "must be written, performed, recorded, post-produced, etc. all in one contiguous 24-hourperiod...must be at least 20 minutes or 30 songs" with " ideas from before [that day]". I loved the idea because constraints always make you do crazy stuff that you would never had thought about before hand, as I talked about with the HELLO RAINBOW project. You can check out the website of Album-A-Day here.

The real reason this was a great success was not that we met these criteria (well almost, by 10 seconds), it'smore of a success for me and my creative or artistic self. Since I started school, I realized recently that I had not been approaching music the same way I did when I was in high school or early community college. At that point, I was much more interested in just pursuing what I liked and not really thinking too hard about it; since midway through college, I definitely got hooked into my perception and my ego directing my artistic goals, which ultimately turned into things I didn't have a passion for,.

This project was a GREAT way to begin to rediscover that part of me that just wants to pursue what it likes and do what it wants without thinking too much. I left the session really energized and able to work past that self-doubt and way-too-loud inner critic that I had exercised and empowered for the last few years. As you'll hear on the album, it is a really off-the-wall exploration of sounds and genres, and strange art.

I'm planning some more of these with good friends and I'm hoping to keep getting reacquainted with my inner voice more and more as I go. Happy listening and thanks for reading!

Video: Three Tracks with Neal Chin and Merlin Showalter

My good friends Merlin Showalter, Neal Chin and I got together to record some music, including a new original tune of Neal's. I met Neal at a ukulele festival in Oakridge, OR, and wanted to see what would happen if we collaborated. I had been wanting to really dig into using my Ohana OBU-22 Uke Bass, which was given to me by Ohana for a uke festival in 2014, and this really gave me that opportunity with a variety of styles to work on. Neal recently posted up the videos and a cool write-up on his website, so check them out! Big ups to my friends Nathan Alef and Adam Carlson for recording audio and video, Mason Kline for the mixing and mastering, as well as Pacific Winds Music for use of their space!

The videos are below, and the link to his and Merlin's pages are here:

We Are Here To Make Sound (Neal Chin's Site)
Merlin Showalter's Website

Recording Using an SM58 (and Some Extended Technique on Double Bass)

I was recently part of a session recording Brittany Studer's film score of "The Silence" and was recorded using a Shure SM58 more or less directly at or below the bridge.

The mic sounds pretty good, but is obviously not directional enough to create really good isolation between instruments, as you'll hear below. It also doesn't really bring out the best frequencies of the bass, particularly bowing it, though I think that is because of the bridge placement with nothing else to blend in.

These audio clips were recorded direct from the Shure SM58 into a Tascam DR-680 in a large venue with concrete floors and high ceilings.

Here are some crazy sounds I made at the end of the session. Any composers out there who are curious how I made them, feel free to ask below!