Gratia Domini nostri Jesv Christi vobiscvm
Accéndat in nobis Dóminus ignem sui amóris, et flammam ætérne caritátis.

Just a few recordings I've made over the years...

Title Original Date Guitar / rig Notes
Breathe Pink Floyd 5/30/12 Strat; acoustics; K2000. My second bite at the Dark Side of the Moon apple (I recorded Any Color You Like as a tribute to the late Richard Wright in 2008, see infra)! I felt that my vocals for the acoustic piece The Roads Go Down worked quite well, and wanted to try expanding to a simple band arrangement. Breathe seemed like a good candidate. There are three tracks of acoustic rhythm guitars: A twelve-string in the middle, and then two tracks of J200 panned about two thirds of the way to either side of the stereo picture. In electric land, the slide guitar is a 335; everything else is a strat. There are two rhythm guitar tracks, panned hard left and right; one of them is played on the bridge pickup, the other is played on the bridge and middle pickups. Both go through the Blue Bro into a Vox Pathfinder. There are a few electric piano flourishes, and a distorted organ that comes in during verse 3; both are from the K2000.
Noodle 1 - 5/28/2012 Strat Just some new-agey noodling.
In the Black Marian Call 3/12/12 Various acoustic guitars, strat, Les Paul, a fender semi-acoustic Mandolin. Heather Ackroyd and I both loved this Marian Call song, and after we enjoyed playing it at the 2011 southern Indiana Browncoat Bash, the thought of recording it occurred. But how to arrange it? Marian's original is a near-perfect minimalist arrangement, and as I played around with ideas, I came to realize that the answer was to go big. Very big. Instead of trying to imitate Marian's taught and almost claustrophobically intimate arrangement, let's unleash the song's cinematic potential—it has an enormous, epic feel—and blow it all the way out to a full 70mm widescreen production. To that end: The first verse is pretty spare—just Heather's voice, a couple of guitars, and a mandolin, and in the bridge, there's a little bit of mellotron that fades in and out while panning, as a kind of "tease" that nods toward the original. But starting in the second verse, I hauled in a virtual orchestra. The total count of individual orchestral voices is 30: Twelve violins and nine violas, each in three sections, four french horns, two trombones, two trumpets, and a tuba. Each section was scored individually and played by DSK's Brass and Strings VSTs. In the middle section there's also some orchestral percussion (timpani and marching snare), and some flourishes from the Kurzweil (some string pads that would be out of range for real instruments, an organ that comes in for a few bars, a flute and piccolo, two choirs, and a harp). I also sung a few backing vocals in the chorus (I was shooting for something akin to the backgrounds on Tori Amos' Little Earthquakes: Vocals that subtly fill out the frequency range without disappearing into the mix) and added some electric guitar (a few tasty blues licks with the Les Paul through my "Blue Bro" (GGG Bluesbreaker clone), some moody strat with the CH1, and some big ol' power chords with the Les Paul and the Valve Jr turned up to breakup). This one was a real pleasure to work on and Heather did a great job!
The Roads Go Down Johnny Coppin 2/19/2012 Acoustic I thought it would be nice to record a version of this Johnny Coppin song, which I often sing as a tribute to my friend Ian Brain, who died in 1998. I've not recorded a lead vocal before, and my voice is meager and pitchy, so this was really a leap, but I think it turned out well. I pushed myself to do the vocal harmony break and I'm especially proud of that. The principal guitars are three acoustics (one track each of Dreadnought and J200, panned center, and two tracks of 12-string, panned hard left/right) with no reverb or effects; the solo (from the J200) has a little compression and a stereo delay (1/4 on the left, 1/16 on the right, each with feedback set to 15%). The lead vocal is triple-tracked, compressed, and fed into reverb, and there's a backing vocal (harmonized in the first verse) an octave below without any effects. Lastly, the keyboards were a Kurzweil K2000 and Micropiano, and a few VSTs. Not bad at all for someone who's not a singer.
Cluster One Pink Floyd 12/23/10 Strat / Valve Jr A shakedown cruise for the Valve Jr, presented absolute bone dry. The backing was fun to make; there's a very smooth transition from the c major drone on the record, and creating pads which are inviting and attractive (the main one is five layers thick), and then moving from one section to the other, was very satisfying. It was also very satisfying to hear how well the Valve Jr presents the strat.
O Pater Misericordiarum - 5/17/2010 Acoustic 12-string with the 335 A little ditty I wrote to try out an acoustic 12 string I restored.
Blues - 5/25/2009 335, with some strat / voodu valve Just a little jam to try out my 335 substitute, the Dot Studio. The strat joins in for a pass and a little unison I really like at the end.
Time Pink Floyd 4/13/09 Strat / Voodu Valve Some Floyd fun with the strat.
Any Color You Like Pink Floyd 10/2/08 Strat / LP/ Voodu Valve My tribute to the late Richard Wright, who had just passed away. After Easter, I felt confident with a fairly elaborate production, and this uses everything but the kitchen sink: literally dozens of tracks of guitar, synths (VST and Kurzweil) played and programmed, a vocal sample; you name it. I had great fun playing the bass part on this, too. I wanted to open it up into a kind of Guy Pratt groove (it hints back to E55, actually; see infra), and while it's not perfect, I'm very happy with it. RIP, Rick.
Easter Marillion 9/30/08 LP / CH1 & Voodu Valve I wanted to try a project with vocals, and found a youtube video of a Brazilian living in Portugal, Camilla Caldera, singing this song. I'd loved the song for years, so it was a good fit. I recorded a basic backing track, and sent it to Camilla. She sang to it and sent me the file of her vocal. I matched the two up and finished producing the track. I'm pretty pleased with this and Camilla does a beautiful job.
The Perfect Kiss New Order 2/4/08 LP / Voodu Valve A project to test out Addictive Drums and to try layering vocal samples. I had wanted to play this piece for years and always thought there was a heavier, darker vibe in it. I think this came out great.
Walking on Air - 1/1/07 LP / Voodu Valve An attempt at writing an actual song with the setup I've been building (and actually my first songwriting in eight years).
E55 Simple Minds 8/11/06 LP / Voodu Valve Finding my feet with some basic sequencing and multitracking. This addictive little groove was on the flipside of the She's a River single. Listening to it now (January 2010), I hear so many things I could do better now, and I might revisit this.
Mark's prog thing - 3/15/06 LP / Voodu Valve JP forumer Mark Moore offered up an amazing track for us to jam over. Most of it was far beyond my abilities, but this section cried out for a melodic part. I can do that.
Sua sponte - 1/23/06 LP / Voodu Valve Feeling positive about the jam attempt earlier in the month, I had another go; apropos, here I am having a bit of a wail over an 80s Robben Ford-style backing track. Clearly a lot of work needed—you can hear me reaching for things that I just haven't developed the facility to play—but I was really pleased with this at the time.
Petrucciforum January Jam - 1/18/06 LP / Voodu Valve My first attempt at recording. This came out of a Petrucciforum jam thread, and it's really pretty awful—I'd barely played for two years—but it's preserved here as a kind of "where I started" marker.