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We All Fall Down

Overview

A put up the mics and run with it night in the studio at DNA Studios

100210 Practice Notes


Involved
Mark Whitcomb
Cliff Hammer
Tom Ray
Scott Beardsley

Started on a song jam with bass and drums.
Hit on an idea we liked.
Main jumping point:
Cliff's bass part consisted of notes A G
noted Guitar goes to a G B
Tom came up with a verse melody. Mumbled scratch melody referenced the word "Sethropod" then he asked if that was a real word?
Chorus tease added first before real chorus. We debated on whether it should be 2 or 4 measures.
Mark suggested the vocal verse start on the upperchange of the guitar part rather than the low repeat.
On a run thorough the teaser part, Scott didn't do the spike line and Cliff thought that seemed more like a teaser for the first time
Decided Tom needs to sing the verse more with Cliffs bass ramp up line instead of the melodic part.
Doing this totally changed how the chorus comes in... in a good way.
Tom suggested a spiked piano part during the verse using the G and B chords with each change ending on the flat single note offbeat.
While Tom showed them this they ramped up the A part for what Cliff and Scott thought would be the chorus and Mark and Tom werent sold on that yet. Tom said it was more like an advanced A part.
We agreed that this would be more of a chorus and the original chorus "Teaser" would now be a bridge into the new chorus build.
After a few trial and errors the structure of the different parts came together the way mark had thought it should. 

Video

The song still has no lyrics but Tom sings the melody idea being used for the song.

100210-4-lorenzo-getupstaydown

Audio:


100217 Practice notes



involved 
Mark Whitcomb
Tom Ray
Cliff Hammer
Eric Bruzewitz

Worked on vocal ideas for the chorus part
Tom and Mark kicked around 2 ideas and thought they actually worked well together.
Eric added an idea he had for a 3rd part melody
Mark stated that even though he liked it, it sounded like it dragged and Tom said he'd re-record his part.
Mark thought the song was as far as it would go for this night and said maybe it wasn't the best part. Tom said he still liked it.

Audio:

100219 Practice Notes


Involved
Mark Whitcomb
Scott Beardsley

Mark thought the song should be sped up about 5 bpms so him and Scott laid down a new track from scratch at that tempo to record drums.
Mark for the session added new scratch guitars and bass on top of Scott's drums.

Audio:


100224 Practice Notes


Involved
Mark Whitcomb
Scott Beardsley
Cliff Hammer
Eric Bruzewitz
Tom Ray

Eric laid a keyboard left/right part on the choruses using our old Wurlitzer keyboard we had from the first album that Tom used to use. Mark got the broken old reeds in it repaired.
Tom said Eric should watch out for accenting the high parts cuz they were louder on the off beats of the rhythm.
Mark wanted him to make sure he wasn't playing it too weak while he concentrated on that.
Then Cliff plugged in, to record over the scratch bass track.
Tom stepped into the vocal booth to re-lay the scratch vocals for a reference point Eric could follow on the keyboards so his part could match up closer to it.
Tom started out using a condenser mic with a nylon spit screen and it didn't have the same sound as the original recording. Tom said we used the Heil mic no spit screen grabbed and right up against the mouth and we wanted that sound again. So that's what we did.
Eric punched in some parts to match up with the new vocal track.
Mark doubled up his guitar lines. The distortion pedal he used added too much of a twang so we tracked it clean.
Tom said to Mark that the clean sound made it lose some of the mystisizm and asked him to add a 3rd track overdriving the amp on the head. So Mark switched to the Marshall head and pushed the gain and the bass.
Mark having the 2 other guitar tracks was able to play a little looser and improvise a bit on this one.
Scott said the beginning part shouldn't do the strum as much on the 3rd guitar layer track we were recording so the notes rung out instead of the 1234 like on the other tracks.
Both Tom and Eric commented on a part in the chorus where a guitar is mismatched and we should "Bing-Bong" them in the speakers stereo-wise.
From the scratch vocals Tom's part on the chorus sounded like he was singing "Get up, go down. we all fall down". Which brought on the idea that when we do write lyrics, do a sort of House of Cards theme for the lyrics.
Mark added his Ooo's to the chorus.
Eric added a vocal idea for the chorus part and told Tom and Mark they could take it or leave it :)
Mark focused on one part that Eric had sung where he harmonized with him and added it as a loop to the chorus and blended it to his "ooo" part.
After listening we thought it would work more at the last chous than all the way through.

Photos were taken by Scott and Tom and need to be added.
video by Scott needs to be added.

Audio

100225 Notes


Involved
Mark Whitcomb
Tom Ray (via Email)

Mark redid the end of the night mix he did the day before and emailed it to Tom with these notes on the changes.

      Mark's email:
Here's a new (better) mix.  

Ditched the wurly in chorus.  Weird part, not right yet.

Edited the Bridges to be tighter.

Lowered the backup vocals, balanced out the guitars and raised them up.
-- 
Mark Whitcomb
Producer, Co-Owner
DNA Studios

From the non-sense Scratch vocals Tom sang for the melody of the song the chorus sounds like he says (or very well may be saying) "All fall down" and we liked it so that line may stay. So Mark temporarily renamed the file all fall down.

Audio

all fall down (got it going on) 100225

100327 Practice Notes


Involved
Tom Ray
Mark Whitcomb

Mark re-recorded/overdubbed his guitar line.
Think we want to re-do the keyboard line and come up with something new for it. Thought it wasn't quite there yet.
Lyrics wise we stayed on the deer hunter theme this beeing the second part of the story
referenced Queens ot stone bronze and Julian and sparklehorse
Quickened vocal rythmn on verses and held out the ends
after recording verse one and two we added the new chorus
Mark and Tom kicked around harmony vocals.

Lyrics

1st chorus -- second one starts with the second part of the first

They don't get on
we all fall down
We dont get up
if We all fall down
Get up get on
we all fall down, down, down, down

We dont get on
We all fall down
Get up get on
if we all fall down
They don't They don't
we all fall down, down down, down

Verse 1
on the wane it's up, game out feel like going home now
fails and turns to luck, words aren't making it it seems
whip hand and joint fire, fire 
cut the ground better day
nest about out from under one.

verse 2
now the laugh is up, struck about, grapple up and down
hip hustle and higher fire
on a cloud turn it round down is sealed be all up and on



*random leftover lyrics we typed while working on the song*
your star is on the wain
luck turns luck fails 
The game is up
the down is sealed 
sweet milk
under a cloud
unblest
ill-fated
planet-struck
seen better day
bring down ones grey hairs with sorrow to the grave
bring a wasps nest about ones ears
be all up with
time out of joint
words releasing to the voluntary powers division
an unthinking time
clear fire
they laugh that win
3 legged race
cut the ground from under one
hustle
whip hand
bare away
one on the hip
strike oil
frazzle
break the neck of
out of joint

Audio


100414 Practice Notes


Involved
Tom Ray
Mark Whitcomb

Writing third verse
recorded a set of vocals based on the first verse then decided to start from scratch to come up with something new (see below)
we just started to riff vocal melodys variated on the original.

Lyrics

Verse 3
Like I'm feeln no, no'kay maybe comin out soooo right
pick and fixin a fire now I'm---
by the hip, standing still, moving out going round and round

*random leftover lyrics we typed while working on the song*
now and by the hip bend and fix upon
by the hip it runs

-- this was the original idea for the verse 3 lyrics we refer to above --
by the hip, standing still, move out going round and round
seen better day
the laugh that wins
--

now we're here we're now, here we're now now is now what hear, now, now (used this wording idea from this line for the song "Just Had To Let You Know")
bend and fix upon, give a sign, cast a lot within one 
Hip hustle and Higher fire,
standing still, planet-struck, move around
chances landed, only that at any step. is a choice
ticket & picket
fix upon pitch upon
give a voting sign
cull ( to select)
cast in ones lot with
at will
the one or the other
for ones money
at the option of 
wether or not
once and for all

100526 Recording notes


Discussing recording notes about the song for the mix

Involved
Tom Ray
Mark Whitcomb

Tom and Mark get together and record some diferent vocal appraoches to the verse parts.

100707 Recording Notes


Involved
Tom Ray
Mark Whitcomb

Recorded the vocal track to the new tracks.
*video recorded by scott*
*Photos taken by scott*

100714 Recording Notes


Involved
Tom Ray
Bryan Elliott
Mark Whitcomb
Scott Beardsley

Recording horn tracks. Bryan had a vauge part we had worked on at a previous practice and Mark just had him wing it and we recorded it part by part working on what it should be which was kind of an accent to the rhythm guitar.
Random inside joke "put that in your book!" :)
Scott said during the last run of the chorus line the horn would just play a "one, two three, four" instead of following the drum hits like everyone else was doing.

100811 Recording notes


email from mark
So yesterday I took the mix to almost near readiness, and here it is, along with you got to feel it tonight, unmastered version.  If u have any ideas on Fall Down, let me know.  

Also, I talked to Trevor at Mastermind.  He will master the ep for 300.  I am afraid that I must insist ( 8--0 ), so we should figure out what needs be to do that.  I think it it will be invaluable.

Also included in the email audio for "you got to feel it tonight"

Audio

100818 Recording Notes


involved
Tom Ray
Mark Whitcomb
Had a vintage RCA ribbon mic in the studio and used it to double the vocal lines cuz we liked the sound.

100831 Recording Notes


Involved
Tom Ray
Mark Whitcomb

Doing the mix of the song to sent out for mastering.
We thought the chorus guitar was still kind of lacking so we added another guitar to give it a little push since it seemed it was being over powered by the horn part instead of blending with and turning up the original guitar didn't cut it for us.
Mark played more of a 1234 solo pattern at the end chorus to build up the momentum.
Tightened up some of Marks background vocals using the RCA ribbon mic.
Added some high end and slight distortion to the vocal track cuz Tom didn't think that it had the same kick as the demo version did. So Tom and Mark pulled it up and tried to match it in the mix.

Mixed it down for review.
july2010 mixes we all fall down34 (mix file name)

Changed the song name to "We All Fall Down" since Mark kept labeling it that.

100902 Recording Notes


Mark emailed Tom about a new mix and some additions he added to the song.

Email Thread:
Mark: What do u think of this? I added a (little) organ on the chorus and mixed the guitars at the end a bit.

Tom: Is that the leslie on the organ? I'm not sure what I think yet. I first listened on my phone and the end sounded crazy. But then I listened on speakers and it was better. Let me try again and see.

Mark: Damn right that is the leslie and the organ!!!  Fun hitting that little fast/slow button...
I think it adds a little support to the entire part, but I could be wrong too. Lemme know what you think after another listen.

Cliff: Very Nice!
The organ is definitely a nice touch - it really opens the chorus up and makes it feel big. I like it quite a bit.
Same with the guitars at the end - they are really screamin', but the way you eq'd / compressed them keeps the focus on the vocals. I wouldn't be opposed to bringing the end guitars up a little more in the mix (though I could easily be persuaded otherwise).

Tom: ok. so I listened again and it sounded better on a normal speaker setting. 
I was just wondering if we should add the organ with small parts in other places so it doesn't sound like it comes out of nowhere. Just a thought. as I'm typing this I'm thinking it's not a huge deal it was just something I thought of as I was listening, so we don't necessarily need to do it.

Audio

101004 Recording Notes


Involved
Tom Ray
Mark Whitcomb

Setting up the mix to be mastered
Brightened up the EQ on the drums as it seemed kinda muffled.
Decided we didn't like the muli-tracked vocals so we picked out the ones we liked. Kept it on the choruses though we just tightened them up.
Set the vocals with mids and high-ends on the EQ so it would sound like and analog tape vocal that was just recorded a little to loud with natural distortion and added to it with an analog emulator turned all the way up.



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