Tag Archives: home recording

How Do You Not Do? Ten suggestions to end your songwriting rut-fuckery.

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I Don’t know why I used this image, but I really liked the weird little metal nipples… Anyway, on with the blog post!

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How not to be stuck in a rut? If your songs are suffering because you keep repeating old formulaic devices you always use, how the heck are you gonna get interesting again, damn you?!

I’ll suggest a few things now that will hopefully blow your crazy little song-wig.

  • Just play. That is absolutely essential for music to have the freedom it needs to breathe. Kids are SO creative when they play, because they don’t impose any boundaries on themselves, and there are no such things as mistakes – everything is learning. So if you make a “Mistake” whilst going through your song, try and remember what you did, and make “Playing Music” be music at play, not some super-serious rehearsal. Dick around more. Do more stupid shit that might not work. Don’t worry because everything’s gonna work out fine, even if you don’t get anything ‘Productive’ done for that session. You’ve been building your skills that whole time, and there is no such thing as wasted time when it comes to creativity, as long as you’re playing.
  • If you usually do one thing to start writing a song ~ do another thing! If you usually write chords first, try making up a riff. If you riff first, start with a bare acapella melody, or lyrics. I find when I’ve just got home from work and nobody is in ~ I have a little sing to myself in my kitchen while I’m making myself a cuppa, and sometimes it turns into an actual song! (Mostly it just makes me think about key changes though.)
  • Don’t spend all your time polishing a frankly exhausted turd, go do something else! The turd will go fertilise some roses you can show off at a later date. Flogging a dead horse is a really good way to become covered in rotting viscera. (You may quote me.)
  • If you play guitar, mess with the tunings. DADGAD is great, so is open D Major – (DADF#AD) DADF#GD is pretty fun too but not for the faint-hearted! Also, get a spider capo or a 3 or 4 string capo… The possibilities are so limitless! Because you might not be used to those tunings, working by ear becomes the dominant way of doing things, and therefore chord progressions become more instinctive and less habitual or formulaic.
  • Don’t overthink.
  • Go for a walk, tidy your kitchen, have a nice relaxing poo, do some free-writing, go spruce yourself up a bit, or give your pet some smooch-time for ten minutes and get your brain out of expectation mode. If you’re anything like me, creativity comes out of freedom, not obligation. Do something that is different from your normal approach to writing.
  • Let the ideas cook. Don’t even try unless it’s ready, when you’re writing lyrics. Do riffs instead and work on instrumental skills. I have been finding more and more that unless I have something particular I want to say, it’s best not to say any old shit that springs immediately to mind. Having said that, for over 12 years of songwriting, I HAD to say any old shit that came to mind, because I tended to believe everything my brain threw (up) at me, and I didn’t know what I thought about XYZ unless I’d either said it to someone or written a song about it. (Duh. God life was so hard when I thought I had to believe all my thoughts! I guess that’s the difference between an external and internal emotional processor.)
  • Don’t let the Internal Critic have its say until you’ve got loads of ideas down ~ then you can cut your song down to size. There is no point in being precious about keeping a verse that just doesn’t quite work. Get rid of it. If it wants to be said (and it has to be in that particular song) you can always edit it into shape. What works best for me is getting quantity, rather than agonising over quality, and then making sure that the cream of the crop is used to show your song off in the best light. (Wow ~ overuse of sayings. Don’t over use sayings. Ha!)
  • One thing I did that really inspired me to write some of my best songs is just to write a really long list beforehand. I wrote down every single thing I could think of about a certain subject ~ The Elements ~ But starting with half a page of words for water, then moving onto everything I could come up with to do with air, then earth, then fire. By the end of it I’d managed to get my brain into puzzle-solving mode, and I came up with a couple of my best metaphors ever.
  • Along the same lines, either research a topic that catches your interest already, and just make a notes page in your notebook about it, or just use your notebook to doodle in, and write inside the doodle, incorporating it into the structure somehow. This is also sort of getting your brain into puzzle-solving / free creativity mode, and it works wonders to shut the internal critic’s shitty little face hole. If you rely on writing to happen, that’s a really good way of accidentally telling it to fuck right off. It’s like herding cats. But I do hope those are some nice ways you can get the songs to come to you, so let me know how you get on in the comments!

Hope that helps, song-buddies! Until next time.

Remember you are love.

Xx Ryn

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Ryn’s Songwriting Suggestions ~ #6 ~ Recording At Home

A break in songwriting service as usual today, to bring into perspective the recording process.

Suppose you’ve written some songs. Suppose some of them are already pretty representative of where you’re at in life. Suppose some of them make you feel pretty nifty as a songwriter. Suppose, like so many songwriters, you feel a need to make a record of your work, perhaps to prove to your unborn grandchildren that you were once worthy of something other than their disdain for the unrelenting odour of your own urinary, verbal and fecal incontinence. Good. Now we are ready. Are you sitting comfortably?

I went into this recording process with a wary optimism. When I home recorded my last EP, Confide, I was living with my sound engineer, and although it was a hell of a lot of work to get everything right, it was easy to get things sounding good straight away because I pretty much had help on hand 24/7. This time, although I had learnt such a lot about recording from the last process, I was on my own. This was less intimidating than I thought it would be for the first few weeks of putting down ideas. If I had an insurmountable problem I had people I could call, and things went relatively well for the tracking. (Tracking = actual recording of instruments and noises.)

I had bought an old – 2008 – MacBook and the equivalent version of ProTools (a recording programme) for making the first EP, and carried on using it for this one, Coincide. I had finally learnt how to almost fully navigate the programme for the bare bones of recording, I’d pretty much sussed out how best to not sound like a tone-deaf sow suffering from quite a lot of gas pain, and I was quite happy with how things were going. I was so confident in my own abilities that I was almost convinced I could release two EPs instead of just the one. (Impudent fool that I was!) I was nearly at the end of my tracking process when the MacBook decided to overheat and die every 45 minutes. Then every 35. Then every 20. The bastard. I even took it to some people for them to look at it, but they couldn’t do anything about it. Sigh. I should probably take it to some more people now. Sigh again.

Just before the overheating process began, however, I realised I was going mad. I had been quite happily tracking and editing and everything, and then, quite inconspicuously at first, I began to doubt myself. The tracks weren’t sounding as good as I’d like. I’d try to add instruments but for some reason everything I tried made me feel sad. I was putting in four hours a session, and I needed something to change. I found myself lacking the discipline to do a whole session. Then I found myself lacking the discipline to do all the sessions I’d planned! I was skiving from my own life’s work, like an utterly spunk encrusted knob-hole!

When I finally realised what I was doing, my self-esteem was already nearing its lowest point. In desperation, I set up a meeting with my sound engineer, masterer and mixer extraordinaire, Kimwei. We sat in the pub near her house one lunch time, with the headphones on her head, and me, in trepidation and silent anxiety, sitting quietly opposite her, biting my fingernails. She adjusted a few levels here and there. She put some reverb on the vocals. When I had a listen, suddenly I could hear music again, where once there had only been the chilling cacophony of my own worthlessness and despair! She said “It’s really not as bad as you think.” And that phrase in itself was more like music to my ears then perhaps I could ever endeavour to compose. She gave me a few tips on recording. Here are Kimwei’s pearls of widom:

1 ~ If you listen to it really quietly and you can still hear every part, then it will do as a rough mix.

2 ~ Don’t let your vocals be too dry. Try and put a little bit of reverb on them, because otherwise you will think you are a terrible singer if you have to listen to that over and over again.

3 ~ To add musical depth to a piece, try recording the same chords, but in a slightly different rhythm, on a different guitar than your main guitar track is recorded on. So if it is a finger-style main guitar, try strumming underneath it. If it is a strumming line, try just arpeggiating the chord at the beginning of the bar and letting it ring for the duration of the chord. The reason you need to use another guitar for this is so that the frequencies don’t clash and cancel each other out weirdly. (If this does happen, however, you have to do something on the programme which every Doctor Whovian will understand – Reverse the polarity. Seriously. I know, right?!) Anyway, once you’ve recorded that, the idea is to have it subliminally quietly in the background of the track. It works like a dream. It’s wonderful. I will ALWAYS do this in future because it’s the best thing in the world. I love a bit of extra atmosphere, me.

4 ~ You can also do this subliminal thing with your vocals. (Although use the same voice, unless you have two of course, like that woman with two heads in that rubbish series of American Horror.) If you sing the chorus, say, with the same timing and gusto, and have one vocal just very quietly underneath the first, it adds body to the sound.

5 ~ You can do the same as point 4 ~ but whispered, and it sounds like you are very close to the listener. It’s a really intimate sound. You have to be very careful with the timing for the vocal double tracks though, because otherwise it can sound like total pants. Or be very good at editing.

When I went home, I tried a few of these things out, and by god I felt vindicated and amazing! I realised I hadn’t been working in vain and that actually this EP had the potential to be as good as I’d hoped it could be when I finally decided on which songs to record!

I felt so good about it that I booked a session cellist to play on two of the tracks, and was delighted when she came up with the goods and gave me some amazing work!

So this is how knowing a few little gems helped save my arse with the new EP, Coincide. But the process wasn’t finished yet…

Kimwei came round every day for a week, and together we worked on (further) editing and mixing the tracks. It was a very important process, and I can’t recommend highly enough getting someone who you trust to help you with this. I think if I had felt at all judged, or pressured for time, I would have ended up with a far worse product. Every detail was accounted for, and adjusted, and adjusted again and again, until I was happy with it.

At the end of the week, (after a few setbacks of sending it to people and them hearing hisses in tracks that we’d not noticed before, or other suggestions from people, and then getting rid of those faults and then re-mixing and re-mastering… For the 89,047th time,) Kimwei actually moved to another country. I can’t say I blame her. CD Walletcdr-dup.ai

She had been planning it though. I just said it like that to be all dramatic. Oh yeah, above is some artwork to distract you. It’s gonna be on Coincide.

So when she had moved to Wales, we had to do the rest of the mastering by email, which was somewhat arduous, as we work far better in the same room as each other. However, I can say that today, a full week of stress after I intended to send it to the printers, I have finally sent it!

I am approximately 98.64% happy with it as a finished product, and I hope that you are too, should you choose to experience it! Some taster tracks are coming soon, and I shall put them up on reverbnation and Facebook. Here are the links so that you can have a little listen at your leisure, should you decide that now is the right time! reverbnation.com/rynmusic and facebook.com/rynacoustic or find me on Twitter: @rynacoustic

Thank you for bearing with whilst I shamelessly self-promote!

I really hope you like the music, and I hope what I have shared with you today will help you in your own creative processes. Self-doubt is a normal part of any creative endeavour, and I think with the idealisation of life and careers as seen on Facebook etc, it’s important to remember that what you see there is only the best 30% of people’s lives. The rest people don’t see as worth mentioning because it’s as boring, mundane and depressing as YOUR life! Hooray! So when people say on social media that they are releasing another Official Music Video or they’re being interviewed on such and such programme, just remember that they have also probably felt nuts about stuff too, they have probably been depressed about themselves as human beings, and it is essential for you to remember this – for even your heroes – the inside of their left butt-crease has at times been unrelentingly and almost maddeningly itchy.

Remember, you are love.

Ryn xx

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