Word: overdubbed
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...last week's article I addressed basic tracks and the first set of overdubs. "The Studio Three" will further explore the overdubbing process and enter the relaxing and rewarding life of studio mixing. The most important of the "overdub" days were those that we spent singing. The Humming's tunes specialize in three and four part harmonies, so getting solid vocal takes was more important (if but slightly) than my glockenspiel part. We sang into a Neumann microphone, a piece of German engineering that can send shivers down the spine. Look carefully to behold the soft, silver metals and finely...
...Despite the time crunch, the overdub period allowed for the most spontaneity. Matthew would say, "this bridge needs something," and we would whip up vocal harmonies or horn lines on the spot. We plucked out banjo parts on three or four songs, though we kept only one sample. The beloved glockenspiel was a spur of the moment decision, which proved difficult, as the studio's version of the instrument was a few blocks short of a glock (the thing looked like the grin of an unlucky hockey player). This improvising was exciting and nerve-wracking. It was creative energy...
Perhaps Thompson has attempted too much in directing the film. A more experienced director might have been able to glue the beautifully written vignettes together a bit better. And with more objectivity, another director might not have been forced to salvage a romantic ending with a voice overdub intended to lend credibility...
Most bands get started by dedicating years to road work; Dan has toured only once. Becker and Fagen seem satisfied sitting in the studio, sipping Cuervo Gold, calling in friends for an occasional overdub, growing old and rich. And America eats it up. Easy rock with a pseudo-Latin chacha, the formula hits its peak. Even the fast songs sound slow, thanks to the preposterously uninspired dribble of the guitar solos...
...fringes. Lotta room out there on the fringes: Willie Nelson and Waylon "I Don't Think Hank Done It Thisaway" Jennings were there already, Texas, noses to the ground, developing a sound that relied on electric and accoustic and pedal steel guitars with less and less studio multitrack overdub gibberish and more roadband verisimilitude. Buffett, playing solo bars from New Orleans to Key West, Florida, poured chukka into his roadband sound: drunken-sailor crabby-cowbell filled-in reggae rhythms, compounded with clean country whine-guitars, a baying folkie voice and Greg "Fingers" Taylor's wailing harmonica equals shrimpboat rock. Buffett...
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