20 thoughts on “Los Angeles

  1. So, how was that? Not that I would pretend to “know” either of you. :]
    I don’t know if you remember me or not, but I wrote you an email a long time ago about Caste von Buhler records, and you mailed me a package of CDs. Still some of my favourite music.
    I lived in Indiana at the time. Now I’m in Seattle. I would love to come to a show of some sort; anything going on around here in the future?

    • Meeting up was good, there was a lot of catching up. But Melissa is a very private person, so I can’t get into great detail. As for the package of CDs, well, I still have boxes of old Castle von Buhler stuff. In fact, I just found a size “Adult L” purple Splashdown t-shirt, probably the very last one on earth. Anybody want it?

    • To be honest, all three members of Splashdown have gone so far down into their own rabbit holes that the original line-up is incredibly unlikely to happen again. That said, there are still bits of cross-collaboration here and there. For example, Melissa sometimes sings on Kasson’s stuff, and just last night I recorded Anarchy Club’s singer for some movie soundtrack stuff that Melissa is doing.

      I do have a big pile of backlogged music that I would have used in Splashdown, but I’d need to have the right conditions for a collaboration in place in order to muster the energy to go at it again. (In particular, I’d need somebody in the same city. Working remotely is fun but can only go so far.)

      One random example: the song “Nomadic”, of which there is a craptaculous live recording floating around, is a composition I’m proud of, and I’d like to find a proper home for it someday. There was another Splashdown song that we recorded several versions of, “If I, If I,” nobody but the band has ever heard it. That one lies in wait as well. And on and on.

      So, looping back to your question, the answer is a very indefinite, “who knows?”


      • …Wait a second. I just read “another Splashdown song”, and then I spontaneously combusted. Say what now?

      • Not to mention what is probably my favorite Splashdown song that nobody has heard, “All or Nothing.” I’ve been torn about what to do with it for the past decade. The problem is that the backing tracks all got mushed together for a demo, and the original, separate tracks were lost. So it’s a great song marred by *very* crude, just-trying-to-capture-it-on-tape playing, which can’t be undone. I’d love for the world to hear it, but I’d cringe at the same time. A big part of the Splashdown sound was the polish. Maybe we can put it out someday when I’m really, really drunk.

      • Well- and this is something I’ve never said before- I hope that drunkenness occurs very soon.

        It now occurs to me that songs I’ve never heard before are theoretically more important to me than almost any song I actually have heard.

      • I just went back and listened to “All or Nothing”. Kind of a glorious mess. I think if I just fix up some of the bass and give it a semblance of a mix, the feeling is there. I’ll add it to the lengthy future to-do list…

  2. Understandable for sure. You guys have been definitely going far in your own projects since you were all together, so bit hard to rekindle that spirit. You did have an amazing amount of synergy together tho — do you feel like you’ve brought alot of things learned there with you into your current stuff?

    It’d be interesting if those possible collab bits ever get recorded, as well as the Splashdown tunes that never got properly recorded. I wish I’d been living in the Boston area back when so I could have heard some of those first hand. If they ever do get down, you’ve got alot of folks hungry for them!

    Glad you guys have been keeping the fires going tho — good stuff coming from you and Kasson and UHP…

    Speaking of…In an above comment you mention Melissa as being pretty private – no kidding! I’ve tried to look up contact info for her (wanted to hire her for some vox) but came up with nothing! Ah well.

    What area of the world you operating from these days?

    • Brought things into current stuff… hmmm, maybe whatever production and mixing skills I have. I did try to grab every bit of technical knowledge I could while we were working in the Capitol building studio. Particularly by watching over the shoulder of the mix engineers, like Bryan Carrigan, who spent more time with the band than anybody else.

      Nice stuff on your website, what platform was it recorded on? I’ve been using ProTools forever, but am starting to branch out into Reason 6. Those Propellerheads can program crazy tight.

  3. Knowledge is key – can never have enough, though it’s easy to overload too. Certainly working with other talented folks can have some serious osmosis in terms of skill.

    Thanks – glad you dig what’s up there!
    I use Logic pretty exclusively nowadays – coupled with bunches of third-party plugs, occasional hardware.
    Logic’s got the right combination of MIDI/audio workflow for me to get my rocks off, and the master summing is fab, so I’m pretty happy with it.

    I used Reason to learn on, and I think it’s a great product. Back when I was using it (versions 2.5-4), it didn’t support audio editing, but now that they’ve merged it with Record it should be a pretty massive solution. I’m addicted to my Logic plugs so hard to go back tho.

    But no kidding on the programming chops, right — it’s incredible the low CPU overhead that thing has. You can slam it with all you’ve got and pretty much never overload, which is a far cry from say, using a boatload of native Waves plugs and making your computer cry ^^;;

    • I heard Logic is super buggy? So I figured, hey, if I’m gonna use a bug-ridden DAW, might as well stick with the one I’ve already poured so much money into for plug-ins (Pro Tools). I never would have considered Reason before, but now that they’ve incorporated Record into it, I’m taking it seriously. And it appears to be un-crashable, even when doing tons of audio import on the fly. Love the SSL mix buss emulation too.

      I think, strangely enough, that what I like about Reason is actually being so constrained by its design. It’s got its built-in synths, beatboxes, and effects, and that’s it. Too often in ProTools I get “choice overload”, which actually makes me less productive. For example, I have dozens of plug-ins that just do compression. Each one has its own slight flavor, but having so many is just paralyzing sometimes.

      • Yep, the omnivore’s dilemma, but in audio software/gadgets. Even in Reason, it’s easy enough to spend hours browsing patches instead of doing things with them, but it’s also true that at least you never fall into the trap of – which modeled EQ should I use, but wait maybe the character is better on this one, etc…

        With the new stuff in Reason, it’s really starting to be more and more professional in ways it wasn’t before. Good moves on the SSL, Record, the new features and interface. definitely creative and cool. though, did they ever add a real HP filter? used to be, you had to fake it with EQ when you wanted to do a sweep, as the filter box only had low or band pass…

        Logic used to be buggy I think – now it has its quirks here and there, but on the whole it gives some solid results. Processor load is not light tho – I definitely miss that about Reason (and the Maelstrom. that thing is rad). On the other hand, Logic’s included instruments are fantastic, routing is awesome, and I love my plugs…
        and then I can confuse my friends, too, as my user interface is always set to Japanese…^_^

      • Whoa. Logic. I LIKE IT. What was I thinking all this time. It’s Apple!

        I just fell into the idea that ProTools was the “standard”, and I’d invested lots of money in its plug-ins. But ProTools is such an Edsel compared to this. And almost all of my plug-ins had accompanying Audio Units versions, so I get to keep them.

        Totally getting into this.

      • Indeed, the interface and the workflow are key, and very Apple. IMHO it’s the most useable hybrid of MIDI/composition and audio recording — it handles both fabulously, and still makes sense from an audio engineering perspective (vs. Ableton Live, which is cool but really weird to use if you come from that background).

        Yeah – most big plugs for ProTools should have AU compatible versions I think – I use alot of third party processors that do, and all the Waves stuff works fab.
        ProTools is indeed the standard for pure recording, and it does excel at that, but it’s not as intuitive when it comes to a combined midi/audio workflow.

        Dunno if you saw, but Apple actually just lowered the Logic Pro pricing significantly as well, as it’s buy-online only instead of boxed now.

        It’s fully worth checking out IMO, but of course I’m happily biased ^_^.

        Be interested to know how you get on — post if you have any questions about it…

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s