Ok this is several months old but I have nothing new so I am going back a bit. One of my all time favorite songwriters is Stephen Malkmus. For those unlucky enough not to know, SM was the leader and primary songwriter for the greatest indie band ever. they were called pavement and they were the bomb.

I am something of a regular on the Malkmus message board (the only one i post to really) and there is a nice little community of bookish, very funny, and interesting posters. Many of us are musicians (or like to think of ourselves as that). Many of us went in to cover pavement or malkmus songs. There have been two collections so far. This song comes fromt he second. maybe I will post the first at a later date.

Download the song here

(if you are not familiar with the original, grab it HERE)

So, “Kindling for the Master”…

This song is from the album “Face the Truth”. An album that has divided malkmus fans. It is an album that was recorded in his basement and is mostly “just him” without his excellent backing band, The Jicks. The album was a hodgepodge of all different styles. From sucessfull (and failed) expirements to standard “jicks” tunes. Some hate it, some love it. I think about 60% is ace and the rest is good for the rubbish bin.

This song is, in fact, in my opinion, one in the later category. After the first round, where i covered a song I really wanted to, I had no desire to cover any other song. Someone (I think it was you, swede), suggested choosing the song I liked the least, and cover that one.

Stephen Malkmus’s Version

This falls into the failed experiment category. Its something of a techno weird-out. it’s all fake drums, keyboards, quirky guitar parts, sampled vocals (or at least processed vocals) and it all really doesn’t go anywhere. It’s not even a good failure. Its just bland.

Malkmus vs. Britney

There is a whole side story that i will not go into. (see the Spears 50 Post game link on kebabdylan.com) but… when I started working on this version, i was working on covering “piece of me” by mrs. spears. I quit working on it, to do this song. so i decided to imploy the same methodology to Malkmus as I was using with Britney.

My Version of Kindling

In short, here was my challenge. keep the lyrics and melody, but rewrite – entirely –  the music. It was what I was doing with the britney song, so I decided to do it with this one.

The song starts of with an intro. This is a pretty obvious example of what I was trying to do. The intro in the original song is pretty much just static G chord with a simple 4 note melody (b-c-d-g).

I kept the melody but the chords are changed to:

G | D#m | Em | D#m | Bm | C#+5dim  | E/C+5dim

There is the guitar part along with several midi tracks orchestrating it. The original is primariy midi, so I wanted to make sure I had a lot as well. and i do.

Next it kicks into the chorus which melodically is just a two note melody, which gave me a lot of freedom to do pretty much what I wanted to do with it. In Malkmus’s version, it is a one chord chorus. In my version it is a very active, somewhat non-traditional, progression (with the two note melody on top). The progression uses several diminished notes and turns out to be:

A | G | B | Bb | E | Eb | D

The main verses also deviate from the original. I honestly do not know what they original is. Once I got the melodies down, I stopped listening to the song. Main verses turned out to be:

Em | Em7 | Ab G  | Eb

The one part that returns to the original is the last part where the basic chords are  E G A. It is out of order, due to my not listening to the song much. oops.

I did throw in a nod to talking heads with the synth part. Filling in the space I took the basic melody and bent the notes with the little bender thing on my keyboard. Making many of the notes go slightly out of tune. I got a sound that resembled Houses in Motion –  the bumble bee sound, as my dad once called it.

The last part is just guitar parts building up to the conclusion, which turns out not that different from the original.

Download the song here

Ziggy 2000

October 6, 2008

This week I am taking a sidetrip down memory lane. I have mentioned the detholz in past posts. Not only friends and great musicians, but a great band. They do a halloween show that is a must see if you live in chicago land. I will post a detholz related song at the end but this is about my first detholz experieince. One of legendary preportions…

Ziggy

I was at a conference in sunny california about 6 months ago. The reception had a hollywood theme with impersonaters walking around. Your regulars, marilynn monroe, clark gable, etc…

Did I mention Clark Gable? He had a “could not be natural” tan and gave off an overall creepy vibe. Several of us noticed it and it became the subject of conversation. That’s when I said “It reminds me of the scariest David Bowie impersonater…”

That is when, Brian, who I have worked with for 4 years, turned to me and dropped the bomb. “Oh, Ziggy 2000!” Who is Ziggy 2000 and what does this have to do with the Detholz?

The first detholz show I saw was in chicago at the Big Horse Saloon. They were sandwiched between Alison Kenady and Ziggy 2000. I could write an entire post on Miss Alison as well. It was a memorable night. (just one anecdote: For one song, she used a drop-d tuning along with her companion on 12 string. I took a good 5 minutes to get that done. only to play one song and then 5 more minutes to tune back up to e).

In the words of my work mate, responding to my lifting my jaw off the floor and shouting “do not tell me you know who ziggy 2000 is !!!!”

“yeah. I never saw him, but I friends that did. they said they couldn’t describe the show other than its the scariest thing you will ever experience”

That about sums it up. Here are some of the things I remember.

  • “Do not forget to tip your mexican bartender” said repeatedly throughout the set. It was a mexican resturant.
  • Ziggy, floating above a bundle of balloons singing Major Tom
  • A feeling of complete panic everytime ziggy got near the audience (especially anywhere near me).
  • Jim Cooper, getting up to go to the restroom (requiring one to walk up near the stage), and Ziggy shouting “Where the f#$k are you going!” – a frightened Mr. Cooper half jumping and looking at us.
  • Ziggy 2000, rolling on the floor with a 8×12 glossy of Donald Trump
  • Ziggy 2000 simulating being felated by said 8×12 glossy of Donald Trump

did I miss anything?

What I also remember from that night:

  • hearing sunburned in the sun for the first time and just being absolutely floored by that song.
  • hearing Mr. roboto with detholz treatment
  • pretty much not being able to follow anything they were doing on guitar
  • meeting up with old college friends
  • figuring out who Jim Cooper was in college (oh, its the neil young guy!)
  • did I say being blown away by how good the detholz were?

To this day, that show lives in my memory as something special. The detholz may have been upstaged by a psychotic bowie impersonater, but only by a little.

The other show that has a special place in my heart is the one and only Jukebox of the Dead show I have been able to attend in chicago. I still remember the chills as they opened with Susudio. I remember, Jim barking out the words to live a virgin, with eyeliner melting down is pale corpse like face (nice combo there).

I am hoping to attend this year. If you live in the chicagoland area, you need, and I mean you really need, to go to the show. Get tickets. It will probably sell out again like last year. here is what you need to know:

Jukebox of the Dead IX
“Detholz! FLEX!”
w/special guests Aleks and the Drummer & Hood Internet
Friday, October 31, 2008
Empty Bottle
1035 N Western Avenue
Chicago, IL
Buy tickets at http://www.emptybottle.com

A Heavenly Way – my detholz tribute

And here is a link to a song I wrote called “A heavenly way” which was my attempt to rip off completely the Detholz! It’s many years old and imitates the “classic” detholz which included, ridiculous time signatures, dissonant chords, erratic chord changes, odd runs, and slightly off kilter lyrics.

None of which, at the time, did i have any experience with. So I challenged myself to write something like that. I will leave it there except to say the lyrics for the verses were based on the lyrics for Michael W. Smith’s “friends”. On of the worse songs every. I would take a line from that song (which had long flowing lines) and remove words to make a short line from it. IE. “packing up the dreams god planted” = “packing up god planted”

here is a link: http://tinyurl.com/3osn83

ok. I am  back. I have recorded two malkmus/pavement covers but that is not for today.

You can download the track at http://tinyurl.com/6l6b28

here is a new song. called “the dagger is there where you left it”. I posted it over at the sonar message boards and its getting some nice reviews. mostly about the song title.

Subject Matter

It is a happy little ditty about child abuse  – or more specifically, the tendency for it to keep “coming back” to haunt/resurface in a victim’s life. I will not go into the motivation.  I will post the lyrics.

About the song

So some interesting things about this one. First. I am ridiculously happy with how this turned out. I rarely don’t like songs that make it all the way to completion, but some make me happier than others.

It is a “big” song sonically. There are a gazillion tracks and yeah some things get lost in the mix but it is not a mess like the last one.

Second, generally songs go their own way when I record because all the arrangements, drums, keys are all missing when I start. This one turned out exactly like I thought it would. I sounds the same as what was in my head before recording. that rarely happens.

And third, i can’t point to anything that influenced the song. generally I can say “sounds like pavement” or “sounds like sonic youth” or some other reference point. All i can say is “the cure? maybe?… if you squint?”

Song Title

as I said, this has gotten some good reviews over at the cakewalk forums. Everyone, and I mean EVERYONE mentioned the title. I encapsulates the anger, bitterness, cynicism, sarcasm that the song voices. I am really happy (happy?) with the title and the line of the song it is from.

Songwriting

this started with the very simple guitar part (listen to the first part of verse one). That was it. I tuned up the Low E to F for this one (like the last song) so i guess it’s technically an alternate tuning song. I knew the verse part was in F but I didn’t really have any idea what I was playing. It’s based on the drone of A – E.  The chorus was completely by ear and just tooling around. I had no idea what I was playing until i started incorporating keyboards into it.

Turns out the verse is along the lines of F – C -Dm – A – G (sorta). The chorus changes keys. and I am kind of playing with chords with G D7 C Bm D A G Gm. In the chorus  the bass notes are generally not the root note of the chord (D – D – C – B  – D – Db B – Bm)

Recording

I started by laying down the primary guitars. Then a ton of midi tracks.  Vocals, then lead guitars and the “ohs” midi tracks. I did reuse the distorted guitar dropped an octave with trusty plugin. ( i will have to thank jim cooper of detholz.wordpress.com for suggesting NI guitar rig plugin). I am starting to use that almost exclusively. Used to be a amplitube guy myself.

The midi tracks use a couple of orchestra sounds, the trusty “guitar harmonic” sound which i am smitten with. I use several of the Oh’s sounds during the chorus and ended up using a couple of old school synth sounds as well.

vocals have verse tracks and chorus  tracks (they overlap) and the distorted vox and harmony vox tracks. I doubled the primary guitar, added another distorted guitar sparingly, and too leads for the near end section.

all in all, this is a good 30+ tracks.

Good decisions

I generally double track all my vocals. in this case when I did that, it was bad bad bad. Because in the chorus, certain notes are held for longish period of time, and i am not good enough to hold those notes in pitch… it sounded HORRIBLE. So I ditched the double. and yes, much better.

The build up

Biggest challenge was to create a convincing and non-boring build up at the start of the song. It goes a minute + before any singing. I am still working on it, actually. I am good with long songs but I have become more conscious that not everyone has my patience for my songs. Once it gets going it’s pretty efficient. I am attempting to get in a groove and then as it all just stops, and the singing begins over a single guitar part, the effect, if plan goes as planned, should be jarring. I really like the second stanza and the reintroduction of the pounding rhythm.

so all in all. a big song. I am happy. good song title. hope you like it. here are the lyrics:

do not turn to me and smile
like everything is fine
i will not play your child
no, not when the child is mine

when you had all the power
and my hands were bound with twine
I suffered it in silence
I will not hold my tongue this time

because i have not forgotten
what you cannot deny
when the dagger is there were you left it

i thought that this was over
thought that we had found our home
i thought we stopped the bleeding
thought that we had set the bone

so do not turn to me and smile
everything is fine
when the dagger is there were you left it

because i have not forgotten
what you cannot deny
when the dagger is there were you left it

a bitter taste

March 31, 2008

so this was going to be the “what a disaster this song was” post but I think I may have eecked out an ok song after all.


gnome-audio.pngDownload the song now!

A Little Background

tepes1.gifThe Historian: A Novel.

So I hate writing lyrics and really have nothing to say to anyone. So I decided to write songs about the books I was reading. In the past I have blogged about “closed circuit” and “break you down” — both songs in the series. (look for “a week in the always” shortly)

This song may have killed that project.

Enjoyable enough, the novel “The historian” was a vampire/dracula novel that was kinda like the “davinci code” for Vlad the Impaler. How do you write a convincing song about dracula? Well, I tried.

Music

The verses are in sets of three’s with each pass building. It’s in standard tuning (sort a). I tuned the low E up to F on this one. The verses are all anchored in A. Primary changes are between A and F by inverting two notes / fingers on the guitar. Then comes some diminished chords and a Dminor thown in. All still anchored by that A bass note.

Then comes the chorus which has my favorite chord to date (the second one). Something like a C#7, not really sure. There is a move between Fmaj and Dmaj and I emphasize the F -> F#. Then comes the second part of the chorus which is half step walk down from C with some math rock timing. — Did I mention this is a ridiculously ambitious song with a gazzillion different parts all working together?

after the chorus you got the RAWKIN Bam bam bam… bam. I did some noodling in there. I wanted it to be sloppy but ended up just sounding clunky so I added the two wailing guitars to distract from the clunkiness.

The ending goes on forever, but I like it. It builds to a really simply little melody that I thought called for repetition. I actually really like that part.

I also added a bunch of midi tracks. The two most important are the pianos. I did my little trick of panning two tracks and playing the three notes that make up the chords in different orders.

What doesn’t work…

The singing. It is beyond my capabilities. In fact, my only goal in the second attempt was to not mess up the vocals “too” bad. It was a challenge. The first attempt at this song, they were so so so bad. They ended up (not horrible) although I am way out of my comfort zone.

Maybe a sign of “bad songwriting” but I find that if something is not working, you can fix it by just layering X number of tracks on top of it. That is what I did at the end. I wanted a nice symphonic ending but it just kinda sucked! So I added guitar after guitar.

The final melody which is a simple one relying on some diminished notes, just wasn’t coming across. That was fixed when I added two distorted guitars with reverb to the end to emphasize the melody (one in each speaker). Although I was just making up for the lack on good arranging, it seemed to work.

I also tried to add this really dissonant in the section right before the second verse that just sounded stupid. (more on that in the what works part)

What works…

I still think after all, that given a gifted sound engineer and someone who could sing half decent, this could be a killer song! I really like the use of diminished chords. The melody (although challenging) is evocative. There are some nice moments. Overall, i am actually pretty pleased with the “song” despite the lyrics.

I like the build. I like the semi-abrupt changes, especially in the chorus. A couple of my failures, turned out to be successes. Two specifically. In the “bam bam bam bam” section (that would be the technical name) I layered a couple of guitar wails over the clunky noodling. which I think worked together really well. The dissonant part that I mentioned earlier. I buried it but you can still hear it. That, I think, turned out well. And even though it was due to serious throwing more and more tracks on, the ending works for me.

There are some odd timings thrown in (which required me to re-record the entire thing due to completely messing them up the first time).

In the end…What we have is a silly song, based on a silly novel that (like the novel) has some potential. There really are some elements that I truly love in this song, but it’s also too big for my little talent or recording skill.


gnome-audio.pngDownload the song now!

Hope you enjoy!

Wham Take 2

March 19, 2008

I have r-etracked all the distorted guitars and the vocals to what I think is a much better version. I no longer cringe (too much) at it. A missed note here and there. Still not super happy with the fuzzed out vocals. But it’s sounding a lot better. And I am pretty much done with it.

gnome-audio.pngDownload Everything She Wants

For the distorted guitars instead of banging out the chords on the verses like previously, I decided to try something different. There are 4 (count them, 1-2-3-4!) distorted guitars. I seem to rather layer simple parts over each other than work to come up with one or two more involved parts. It’s either a recording technic or I am lazy. There is one gutiar just playing the bass notes of the chorus. Two guitars (panned 100% in each speaker) playing alternative ocatives – the ones that break into the chorus to start. The 4 guitar is playing a higher scale of notes that is closely linked to the harmony vocals (george’s singing part). I put a nasty chorus and LFO effect on it as well.

Breaking into the after chorus riffage, the bass guitar part plays the origingal bass line, the two panned guitars play the riff (with some shredding between) and the higher guitar plays the riff an octive higher with a different line between.

The vocals are pretty much the same, just sung better.

gnome-audio.pngDownload Everything She Wants

So this makes it almost 3 weeks in a row (and I even have one more completed track in the bucket)

So this weekend I recorded Wham’s “Everthing she wants”. It has been on my “short list” of songs to cover for years and years. So I decided to just do it with mixed results.

gnome-audio.pngDownload Everything She Wants

Before going into the arranging/recording of this song and what I think works and doesn’t work. A little about covering songs.

Why this song?

This, you could file under “semi-ironic cover song”. I say semi because I don’t think I have ever covered a song that I loathe simply to make fun of it. In fact, I never really try to make fun of a song. Have fun with it? yes. But I usually latch on to something I really like about a song and augment whatever is good about it. In the past I have been partial to R&B pop songs (pink’s most girls, britney spears, shakira, tlc’s waterfalls — man, that was over 10 years ago?)

Most of those songs have very nice melodies over what amounts to absolutely no inteligble music. I did a cover of the Car’s “Just what I needed” and by changing the mood of the music, brought to the foreground what sounds to me like some really dark lyrics — but I degress.

So, Wham’s “Everything she wants”. Man, what a bitter bitter angry song. Not that it’s saying much, but this song has always been my favorite wham song. I remember secretly liking it. It falls into the “nice melody on top of nothing” camp. It makes it pretty fun because there is very little there to either work around or ignore. So what I had was a cheesey 80’s song with some nasty lyrics. A canvas to repaint the entire thing. Like most of my covers, I arrange them without listening to the original (or at least as little as possible). Most of these have been in the back of my head for sometime. I had figured this one out musically over a year ago, so I knew the chords. I actually got some of the music wrong on this one! I realized once listening to it again.

What horrible productions!

I did end up getting this song of itunes to listen to it. And its production is just horrible. It’s an ANGRY song, so stop singing everything with such pin point accuracty with a gazillion effects on your vocals. From the very first “yee-he oh!” — its delayed for like a minute back and forth between speakers. And all “oh oh oh yeah yeah yeah”. You are telling your pregnant wife that you don’t love her!!!

And that horrible synth sound? Really, was that necessary? What’s bitter about that?

The Arrangement

My only real jab at this song is the arrangement. I went for the opposite effect of the original. Immediately instead of pin point syncth glibs and glups, you get a very sloppy distorted bass banging out the most simplified element of this song. There is a nifty minor to major chord change and originally I thought the bass should reflect. I decided against that. So pounding bass, slow moving synths, and muted or droning guitars make up the verses.

The other decision I made early on was to not sing ANY of the ohohohyeahyeahyeah’s or corny “won’t you tell me” parts. That was all left to instruments. The vocals would be fuzzed out themselves getting even further away from the preciseness of the original.

What Worked

I have mixed feelings about how this one turned out. I really like the arrangements of the verses. This was the least planned part. I knew the droning guitars would be there. Originally I was not going to use an MIDI. I wanted it to be a “rawk” song. The MIDI when it comes in is by far my favorite part of this song. Juxtaposed with the fuzzed out bass, I think works really well. I also added a MIDI “guitar harmonic” sound underneath the droning guitars in the verse that I really like.

What didn’t work

The vocals don’t sound very good on two fronts. 1. I have a cold and stuggled through it. I had to do some serious cutting a pasting the “two takes” to get a single take without horribley missed notes. I think I salvaged it mostly, but it’s not my best singing. The fuzzed out effects are not what I had in my head either. Not sure how to fix it.

The chorus (what I thought would be the strongest part) is the weakest part. The loud guitars seem to be washed out of any detail. I cut most of the reverb from them — it was work in an earlier mix. Relying on the gutiars to fill in some of the singing parts and then not really hearing them that well make the chorus a little bland.

gnome-audio.pngDownload Everything She Wants

I will probably revisit this song in the near future and re track the vocals and work on the chorus more.

Anyway. it’s here. it’s, um… something. get used to it (or don’t listen).

Oh, and THIS

where would you go

March 6, 2008

Where Would You Go (aka Kebab Dylan does his best sparklehorse impersonation)Here is a new ditty that I just finished and am very happy with.

CD IconDownload “Where Would You Go” Now

Songwriting

This song just kinda plopped out as I was writing trenches and warfare (see previous post). The opening chord is the first chord of the chorus of that song.

I was going for simplicity here which I normally don’t do. I wanted a quite moody song with just a very simple chord progression. The verses are just a walk down of four chords in standard 4/4 timing. Having said that, like other songs, this is in FACFAE tuning and I didn’t know “what” chords I was playing at first. It just sounded nice to me.

The element on the verse that I like the most is the chords blend into each other. Essentially it is F D# Dm C#. A pretty strange combination of chords. It’s held together and made to sound “normal” by the singing melody. The chord progression allowed me to hold notes that where shared by the following chord. IE (I would hold the “F” while transitioning from the C# back to the first chord F. Or hold the F while moving from the Dm to the C#.

The other trick is that the way I am playing them, the bass note for each chord is not the the primary chords note. (for instance, the base notes for the verses are actually C A# A G#)

The chorus took a little bit to knock out but from the get go I liked the dropping down a half step into it. Makes it both a new chord introduced but also a logical progression from the verse with its decending chords. The chorus is also some really strange chord combinations held together with the melody. (C Am Gm C# D# D Gm C# C).

The bridge was going to be instrumental and is the most conventional part of the song.

In the middle of the song, it turns from sleephead to sonic youth. I’m pleased with how the “loud” part is transitioned into. Although some of the “music” gets lost in the distortion, the base chords actually sound pretty good just on an acoustic guitar.

The Recording

With this song, I knew I wanted it to be quite and moody. The chords just called for it. I made a concerted effort to keep this song as simple as possible. I generally have never met an extra track (guitar or otherwise) that I have not liked, but I limited myself. There are three midi tracks. one is just a synth pad that smooths out things and two strings. The guitars consist of a double tracked rythem and one extra track that goes in and out. The mid section does pile on the guitars but its short lived.

I also added a bass guitar track (sort of) by using a pitch shifter and dropping it down an octive. I came up with the little bass line and I liked it a lot so I felt I should add it. I’ve been meaning to put bass in my songs for some time. I usually just use some deep midi instrument to fill that space.

To simplify it even more, the chorus consists mostly of one hit of each chord, leaving a lot of open space. The drum track also, I intentionally made very simple. As a result, I think the drums sound better than most of my recordings (my biggest weakness, according to many). I think I am getting better at mixing them to get a nicer more real sound. Still fake as can be, though.

I double tracked the vocals with one track slightly distored (a common trick of mine). and added one harmony part to some of it. I knew this song would be quiet so I went for the quite almost whisper singing style that I think works quite nicely with the whole feel of this song. I couldn’t stop thinking “this sounds like sparklehorse” the entire time and ended up embracing it. For those who are familiar with sparklehorse, you probably know what I mean.

Lyrics

I had a hell of a time with the lyrics. Hated Hated Hated them. I was going nowhere but I knew I wanted to record this song. When I first started working on this, “where would you go if you had to go” was stuck in my head and it made no sense. And it went no where. I then settled on “laughing like girls in the after noon with the blinds open wide”. Once again, made no sense and wasn’t going anywhere.

As you can guess now, this song is completely meaningless. Which leads me to one of my songwriting traits – lyrics. I rarely write “about something”. Almost never ever start off with anything in mind. I generally use images or sounds t evoke emotion that resonates with me (hopefully others as well) but without making any statements or getting personal.

With this song I was struggling through coming up with the words until the last verse where “where would you go” popped back up and I got an idea about what this song could be about. Think illict/illegal relationship at stuffy or religious boarding school in up new york state. I went back and added lyrics to the bridge to emphasis this kind of reading.

CD IconDownload “Where Would You Go” Now

So I hope you enjoy this one.

3 Responses to “where would you go”

  1. jonny Says:
    March 5th, 2008 at 9:55 am edityeah bab! i dig the simplicity and harmonic movement of this one alot. and yes, those synths fill out the arrangment nicely. i’ve been thinking about that alot recently, combing shorter bits (drums, short keyboard notes) with longer pads underneath. nice way to fill out the space.ooh! just got to the bridge. guitar!!!!!!!!!!!!!!!!!!!!!!!!!!!!! nice. short and sweet.yeah, midi drums are tough. again, simplicity helps.you’re writ’n a bunch these day eh?j
  2. kebabdylan Says:
    March 5th, 2008 at 10:11 am editfor drums I am using hydrogen – an open source sequencer. It exports as a wav file. I think midi would actually sound better!I am always writing, but actually recording is the problem. I did a batch this past week or two. I have one more that is almost done. Its a mess but what the hell.I have 6 or so songs all half way done that just need to sit down and record. The last two were written in the last couple of weeks. Do you find brand new songs record better. some of these old ones just don’t seem to be turning out so well.I was thinking about contracting you out to add drums to one of my tracks (this one actually!). I think that would be interesting. I send you the song with just a click track and then you send me the drum track. Whatcha think? would you be up for that?
  3. jonny Says:
    March 5th, 2008 at 11:14 am editword. i do think the more recent ones tend to record better. especially if you’re not in a hurry, but they’re fresh out of the brain. they’re more exciting then generally, and you tend to give ‘em more energy. something like that at least.yeah, i’m happy to play. the only trouble here is getting good drum sounds. i can get decent drums sounds, but i don’t have all the mics i’d need for GOOD drum sounds. ju know?