Yes, I have released two other volumes and, no, I didn’t create posts for them. I really should go back and do just that. For now, let’s just settle on the fact that DMCA-Free Rock: Volume Three is still fresh on my mind.
I originally set out to record 13 or 14 songs for this volume to match the length of the previous two. A streamer with a healthy, regular audience who happens to use my music from time to time said I should put out more. It was a goodhearted comment, one I don’t think he realizes pushed me to change my mind.
Let’s take a look at the songs on DMCA-Free Rock: Volume Three and provide some of my thoughts on them.
Back in November of 2020, I bought some drum MIDI packs through the Toontrack website. One of these MIDI packs was Pop Punk and I immediately knew that I wanted to write a song using that pack.
I have to admit that Blink 182, and particularly Enema of the State, is a guilty pleasure of mine. One wouldn’t imagine a rocker enjoying the likes of 90’s grunge icons Pearl Jam, Soundgarden, Nirvana, and many others to be a secret fan of pop punk, but here I am. “All the Feels” is this 90s rocker’s love letter to bands like Blink 182, Bowling for Soup, a little bit of old school The Offspring, and similar bands. I used tried and true chord progressions and what I felt was a catchy guitar hook throughout the song. The intonation of the A string on the ’92 Tele that I used for the lead guitar is every so slightly off. Most might not notice, but if your ear is used to listening for stuff like that, it’s hard to miss.
I also tried something new for this song that I’d end up doing on a few other songs on this release. Normally, I record guitar parts through three amps and mic those amps with four microphones. I use a Sennheiser e906 and either an MXL R144 or Royer R10 (made the switch on “Once in Twenty Five Years”) on my Fender Princeton with a 12″ Eminence Cannabis Rex speaker, a Shure SM57 on a 1978 Fender Vibro Champ, and a Sennheiser e609 on an Egnater Tweaker 15 head/cab. This time around, I doubled up the guitar where I recorded one take using the e906 and SM57 and a second take with the R144/R10 and e609. I did my best to play them as similarly as possible. It makes for a bigger, thicker distorted guitar sound. I then put the mics for each separate take in the left and right channels while I put the lead guitar just to the left and right of the middle.
I still have a lot to learn about recording, mixing, and mastering, but I think this song was the first step in making the next big improvement in those skills.
Even now, nine months later, I think this might be the best guitar tone I’ve captured.
Thanks for going along with me on that long and winding journey. I could probably say more things about some of the songs but it’s already a pretty lengthy post.
In a world of noise, be sound.
Edit 3/11/22 – I reformatted this post to make use of tabs for each song to theoretically make things easier to read.