Category Archives: Music

Music-related posts. my music, other people’s music. Music I like. Music I dislike.

My Reaper 16 Track Recording Template

I spent some time this weekend rethinking my recording template as I prepare for some tracking this week and next. I’ve done this with other programs but decided I wanted to make something new with Reaper. I’ve been using this multi-track recording software for a few years now with no complaints. I realize now though that I was missing some key features that I know will help. In this post, I’ll write up what I created and why.

reaper track view

The track view above is the primary window I use while tracking. It’s got the different sections of the band color coded with some groups and folder of tracks for midi.

Track Templates

I start with the pink tambourine and shaker provided by EZdrummer. I use these instead of a click track as I find I perform a bit better to those percussive sounds than a metronome. I don’t imagine they will stay in most songs but they serve as a nice sound bed for an acoustic and a voice to do a scratch track. They are saved as Reaper Track Templates, which was one of those features I didn’t know about but am now using pretty extensively.

The Green Tracks are the basic string instruments and they’re mapped to the same number track as they are inputs on my audio interface. That means, I see track 3 in the track view and I know the gain and effects for that are running through channel three on my preamp strip. Pretty obvious but feels good to know it’s idiot proof when recording. Same goes for 4, 5 and 6. Right now, 5&6 are a stereo pair coming out of a Line6 Pod Pro guitar preamp so I can record silently while playing along with a drummer. Bass too is recorded directly and silently so the bass won’t bleed into the mics for capturing the sound of the drums. These are a second track template in Reaper.

The blue tracks are a track template specifically for capturing midi from a USB controller and passing that signal along to a Motif Rack tone generator. This allows me to capture my crappy keys performance, fix up the midi after the fact and change the tone patch as it would like later. If I like the take, I can “print” it to another track and repeat if necessary. No latency that I can tell so I’m happy with it. Again, another track template.

The yellow tracks are my basic drum setup. Again, mapped the track numbers with the input channels on my preamps so that track 9 is coming from input 9, same for 10-13. I would also like a hi-hat mic but no extra stands (or SM81s) at the moment so we’ll have to make do for now. Have some basic gating and EQ setup because I know I’ll add it eventually. A fourth track template.

The purple and light blue tracks are another place where my newfound Reaper knowledge has come in handy. I knew I needed a monitor mix and I didn’t want to be constantly muting things so I watched some Youtube videos about how to create an aux bus. Turns out to be pretty simple. Just needed to create two new tracks, one to replace the master (purple) and send it to the monitors and another to send out to the headphone amp. These two are the fifth track template I use. I find myself going back to old mixes and adding these just to get the control for overdubs that I’ve been missing all these years.

reaper mixer view
Reaper mixer view

Hardware In Use

The current hardware chain starts with a pair of Focusrite OctoPres (8 channels each) going into an Apogee AD-16. These tracks then get sent via adat optical to a RME Hammerfall 9652 card for recording. The Hammerfall card then sends 16 tracks back out to an Apogee DA-16, again via adat optical cable. At this point, I’m sending channels 1&2 to a Presonus HP4 headphone amp that’s connected to my nearfield monitors and 8&9 to a Behringer HA4600 headphone amp for the monitor mix. This hardware is all over a decade old. Some of it is premium stuff and other is budget. Latency is still great.

Now, I’m just excited to get to work.

“I Want it So Bad” Gourds Cover

I finally got back out there and played another show. Nestled in the business circle of Elmwood Park, Illinois is the new 18 West Food & Drink restaurant, bar and now music venue. I played there in early October with my friends and new bandmates Matt and Dan Stankiewicz. Acoustic guitar, bass and keys for this gig. I played about 10 originals solo to start before the guys joined in. The next gig will likely have a similar lineup but I expect we will move to a full time drummer four piece by the end of the year.

I had some video recording happening in case we caught any magic during the set. Wanted to share this little video clip of one of the songs to give you a sense of what you might hear at one of these gigs.

Song Background

It’s a cover song originally recorded by The Gourds out of Austin, Texas. I’ve been a fan of their music since college and got deep into their catalog when the I found the Blood of the Ram album. Kind of a backyard barbecue sound, heavy on accordion and mandolin with some occasional fiddle mixed in. This song exemplifies the kind of music that I revel in so I thought it would be a good one to cover and to share here.

I also especially dig the chorus chords, with some funky diminished passing chords that keep it interesting. Here’s the I Want It So Bad chart we used to learn it if anyone else wants to give it a try.

Charlie (2002)

Charlie (2002) is another song from my personal archive. I gave it a no rehearsal recording treatment at the end of August, 2017.

Song Origins

I wrote this one while living in California back in 2001. I was writing a ton back then, trying to emulate my songwriting heroes (Bob Dylan, Harry Chapin, and Jim Croce) with story songs. I was also naive enough to believe I could write about times, places and lives I didn’t know. As a city and suburban kid who spent more time watching cable TV than playing outside (let along working on a farm), this one comes off as a dubious creative invention in hindsight. Charlie is about the proverbial farmer losing their land.

Lyrics Breakdown

Unlike other songs that tackle this topic (Rain on the Scarecrow, for example), I wrote it from the perspective of a farmer after the farm was already gone. The struggle is over, the game was lost. The only battle left is deciding what to do now that his identity is gone.

The other aspect of the song that was a complete invention is the internal dialogue with Charlie’s dead father. In the verse, Charlie’s sorrow for losing his farm is redoubled by guilt for how disappointed he believes his father would have been. Though I was barely 20, even I understood then that we suffer from stories we invent about what other people think of us and that those stories rarely line up with the reality.

Thinking back, I’m sure the narrative aligned with how I was feeling at a transition point in my life. I graduated college not long before I wrote it. I worked in Chicago for six months before moving to California. Life was new and exciting there. I learned a ton about work and made great friends but it was marked by uncertainty and soul searching.

There was also a breakup, my last big one in fact, that had me doing quite a bit of personal reflection and cheering myself up. It makes sense now that I would write a song for a fictional character to teach them how to move on, as I was desperately hoping to learn how to do it myself.

As all good songs do, the main gist of the song gets delivered at the end of the chorus. I don’t remember where but I had heard the phrase “god doesn’t close a door without opening a window” at some point and I favored it over similar variations. Something about a window being open made it seem like the next path or exit out of a sticky situation wasn’t always as obvious as “another door opening.” I also took out the “God” business as I didn’t feel that particular piece of wisdom needed it.

Music

Apparently, I was big into maj7 vamps in the early 00’s. This is the third song where they play a prominent role in the verse chord structure (also big in “Intentional” and “No December in New York”).

Despite it becoming a trend, I remember believing I had stumbled into a big and ethereal sound with the Gmaj7 – Amaj7 riff. The original recording has a descending arpeggio (8 – 7 – 5 – 3 – 1) melody over both chords that eerily reminded me of the Goonies score. Of course, you can’t hear that in my acoustic video but I’ll add an original recording here as well that has a more fleshed out sound.

The chorus too felt like something that could build momentum and get a singalong going. It’s a three stanza thing that was followed by a signature riff played twice. That made the whole chorus a 5 chord progression repeated 5 times. Kind of long for a chorus but it always felt right so I never changed it.

Lyrics and Chords

Charlie – Google Docs version

Words and music by Miles Maxwell © 2001

Intro (B F# A E F#)

VERSE 1
Gmaj7 Amaj7
Charlie looks out on his land for the last time
It hasn’t rained in months and the wells have all run dry
He damns the loans he took out on his land
And as the sunlight dies down
He knows it’s all over now

VERSE 2
Gmaj7 Amaj7
And Charlie can’t help but start to cry
The tears roll down as he tries to let it pass by
He imagines how his father would feel
To know that his only son had failed
There was no more hay to bailed

CHORUS
B F# A E F#
But Charlie could hear his father say
There are things in this world
Beyond this strip of earth
Find out what your life is worth

He heard his voice whispering west
Now’s your time to see the rest
And decide what might be next
You’re not forsaken, you are blessed

You must bury all your doubt
Set aside this summer drought
You know this door wouldn’t close
Without a window swinging out

VERSE 3
Gmaj7 Amaj7
Still Charlie fears what might become of him
After laying his life on the land
Will he teach? Will he work? Will he eat? Will he survive?
He knows it’s just a matter of time.
It’s just a matter of time.

CHORUS
B F# A E F#
But Charlie could hear his father say
There are things in this world
Beyond this strip of earth
Find out what your life is worth

He heard his voice whispering west
Now’s your time to see the rest
And decide what might be next
You’re not forsaken, you are blessed

You must bury all your doubt
Set aside this summer drought
You know this door wouldn’t close
Without a window swinging out

Bonus: Original Recording

Camel’s Journey (2011)

Song Origins

Camel’s Journey is a song that my college band played. It was written by our resident poet, Stephen “Slim” Oliver and he played it for us the first night I saw him perform. Always liked the bouncy rhythm and the transcendent lyrics. I vaguely remember him saying he was inspired by Saul Bellow’s “Henderson and the Rain King,” which already has a song inspired by its title. Doesn’t matter though, as the song here stands on its own in terms of imagery and rebirth suggestion that I don’t quite understand but feel and embrace as a positive thing.

This Recording

In this recording, friends Jeff Claypoole plays acoustic guitar and Matt Stankiewicz plays accordion, while both lend their harmony vocals. I’m on the mandolin on this one as well as tackling the main vocal part. It was recorded back in 2011, over 10 years after I heard it played by Slim back at the Williams College Log open mic night.

For some unknown reason, the three of us rehearsed a bunch as Superbullet and recorded neat songs like this but couldn’t put it together to start booking shows. We sounded solid enough and had a great instrumentation lineup. The only other lingering memory about Superbullet was I distinctly remember feeling outclassed as they were both really solid harmony singers and I couldn’t hang. That meant, I ended up doing a lot of the lead vocals, which always felt a bit like a compromise. Oh well, at this point, I think I’m ok with being a slightly below average harmony singer. Won’t stop me as I put together my next project.

In any event, I hope you like it. If you want to learn it, the chart is below the link. Please tell me what you think in the comments.

Google Docs version

Chords and Lyrics

Camel’s Journey
Words and Music by Stephen Oliver © 1999

G D C D
sure i could roar but what I would roaring for?
seems like I’m only hoping someone could hear me
and I could run but what’s behind me
that I’m running from

same thing is up ahead now that
i been trying to leave in my bed while i sleep

and i tried to hide inside and outside
but still i knew where i was
and no one organized the search party
to come looking for me
and there was a time when I’d like to whimper and cry
self pity and i

when the rug seemed pulled out from under
and i thought i lost all the wonder
of all the things i claimed to have known

it’s when the doubt begins to full sprout
look away for a minute and it’s rooted in strong
yeah, it’s rooted in strong

it’s okay, it’s okay, it’s okay
and i’ll tell you why

G C Am D
because first you’re a camel
on the desert plains at night
with no end in sight
try to reconcile the moon
to the load on your back

G D C D
but then you’re a lion
without rage for flying
you’ve been wounded and you’re ready to attack
but then you’re a child
eyes wide open and wild
with a mind
not looking to find
anything in this whole wide earth
that’s just given birth to you

to you

to yooooouuuu

Something New (2017)

Been a while since I posted something new so I present, “Something New.” It’s been a work in progress for a few months but I’m finally happy with the final verse. About a crazy time in work life when things are exciting but ultimately can’t last. I’ve got quite a few other new ones so I look forward to posting those soon as well. Also, I added the lyrics as closed captions and turned it on by default. Seems to go nicely with songs, especially if I’m mumbling a bit.

Something New
Words and Music, Miles Baltrusaitis 2017

D
In a town outside of Nashville
G D
In the year of O fifteen
D
Was a girl who worked on websites
A
Doing digital marketing

D

And a guy outside Chicago
G
Was doing the same thing
D
And when they worked together
A D
They knew something was happening

D
At first they worked in wordpress
G D
Building pages, posts and blogs
D
Explaining things with jams and jars
A
As symbolic analogs

D
They moved into marketo
G
Working hard as sniffing dogs
D
Closing tasks and shaving yaks
A D
While trying to eat frogs

CHORUS

G A D

They earned respect and they learned trust
G A Em A
They caught up every day cause talking is a must
G A Bm
The more they worked, their power grew
A G D
And the more they shifted into something new

SOLO OVER VERSE

D D G D
D D A A7
D D G D
D D A D

D
The team traveled together
G D
To vegas, boston and the coast
D
One was sent to asia
A
to teach the programs that matter most
D
But the work was never ending
G D
And by seventeen, they were toast
D
The guy picked up the pieces
A D
And the girl turned to a ghost

G A D

Well they earned respect and they learned trust
G A Em A
They caught up every day because talking is a must
G A Bm
But the more they worked, her feeling grew
A G D
That the time had come to try out something new

Songwriter Stories – Be Here Now (2010)

Rolling out the oldies again with a sister song to “Standing in Line.” Again, written mostly by Matt Stankiewicz and finished with Gary Zimmer and me at our Jefferson Park HeadQuarters. Not sure exactly what this was about lyrically but I’m sensing a strong theme of ambivalence and, “I can’t make big promises but this is what I can offer you.” The title makes me think of meditation and seeking a presence of mind that discards the past and stops trying to solve for the future.

Thoughts on the music

This was written on piano and it shows in the descending melody line that follows with the slash chords. I particularly like the walkup to D minor after the refrain. Gives it a new neighborhood to go to and a memorable place to sing along. When I play it on guitar, I don’t incorporate all the bass notes from the slash chords. I just imagine a bass player is doing that for me.

Lyrics and Chords


Intro

F / C/E / Bb C F /

F C/E

You look so surprised to see me standing here

Bb/D F/C F

I can see it in your eyes

Bb F/A F D-
I can’t explain the way I CAN’T LET GO

G- G C C7

But I know, yes I know

F C/E

Today I realized, the way I feel is clear

Bb/D F/C F

It’s something I cannot disguise

Bb F/A F#o G-
I can’t explain the way my HEART STANDS STILL

G C C7

But I will, yes I will

F Gm C

BE HERE NOW

F

To sacrifice my pride for you And

Am Bb C

SHOW YOU HOW

F

I will stand and fight for you

‘Cause...

Dm C Bb F

Iiiiiiiiiiii can’t know how you feel but

Dm C Bb F

Iiiiiiiiiiii know what I feel is real

Gm C Bb Am F

I’m making my vow to BE HERE NOW

F C/E

I hope you understand, what I came to say

Bb/D F/C F

Your eyes tell me that it’s true

Bb F/A F D-
It’s not a choice to make, to LET YOU KNOW

G- G C C7

I can’t let go, no I can’t let go

F C/E

Whatever you demand, there are no games to play

Bb/D F/C F

I will give it all to you

Bb F/A F#o G-
My heart is yours to take, IF YOU WILL

Cause I still, yes I still

Will... [CHORUS]

I Saw a Stranger with Your Hair (a John Gorka cover)

Having dropped quite a few old originals in here lately, I figured it was time to do another “no rehearsal, no excuses” cover. Last night, I recorded a song by John Gorka called “I Saw a Stranger with your Hair.” He’s recently been added to the inner circle of my list of favorite singer-songwriters along with Richard Thompson and Loudon Wainwright III. Other great tracks by him include “Love is our Cross to Bear,” “Down in the Milltown” and “Geza’s Wailing Ways.”

Why I chose “I Saw a Stranger with your Hair”

For me though, the height of poetry and symbol comes from “I Saw a Stranger with your Hair.” It’s a beautiful and haunting song from his early days, originally recorded back in 1987. The lyrics paint the picture of an ended relationship with the narrator seeing traces of his past lover in his present life. I think it captures the heartache that comes with losing someone but not being ready to move on yet. The line that particularly hits me hard (and I’m jealous that I didn’t think of) is, “by the way, how is my heart?” It’s so casual but so vulnerable. Reminds me of “She Thinks He Still Cares” and how that character tries to play it cool about a relationship ending but is really emotionally hurt by it.

There are lots of great versions of him singing the song in his low baritone voice with his acoustic guitar playing on Youtube. I decided I wanted to do it on piano because I’d never heard the song played on a piano and I’ve been doing a lot of guitar lately so it was a nice change up.

Lyrics & Chords

Capo 2nd fret

G C
I saw a stranger with your hair
Am
Tried to make her give it back
G C
So I could send it off to you
Am D
Maybe Federal Express cause I know you'd miss it

G C
I saw another with your eyes
Am
The flash just turned my head
G C
I went to try them on for size
Am D
But they looked the other way and wouldn't listen

CHORUS:
A Em
But you're never hard to find in a crowd
A Em
The people around you smiling out loud
Bm Em
Their feet don't touch the ground
D Em
Their feet don't touch the ground
D A
No their feet don't touch the ground

G C
I heard a stranger with your voice
Am
It took me by surprise
G C
Again I found it wasn't you
Am
Just an angel in disguise
D
In for a visit

G C
By the way how is my heart
Am
I haven't seen it since you left
G C
I'm almost sure it followed you
Am
Could you sometime send it back
D
I'll buy the ticket

CHORUS:
A Em
But you're never hard to find in a crowd
A Em
The people around you smiling out loud
Bm Em
Their feet don't touch the ground
D Em
Their feet don't touch the ground
D A
No their feet don't touch the ground

G C
I saw a stranger with your hair
G C
I saw another with your eyes
G C
I heard an angel with your voice
G C
By the way how is my heart
G C
By the way how is my heart