JasoninStudio

I admit that today’s blog-post is a bit longer than normal (that’s only because it’s a lot more interesting than normal). So if you’re simply looking to hear this week’s song, you can click this link right here. But you have to promise me that you’ll go back and read the post. Promise? Ok, go ahead you can click it.

Today marks the fourth week of my nine month long endeavor to release a song recording and a blog-post every week. As I explained in the first weekly blog-post, my primary goal for this project is to produce a large quantity of work, yet my underlying hope is that I will happen to create some good quality work along the way as well. Yet quality songs are hard to come by. Assuming that I have written a good song (which is certainly not a safe assumption), there is still the problem of making the recording of the song sound good. I use a recording software called Logic 9, and with it I have more ease of control, more effects, and more tracks at my disposal than George Martin and The Beatles could ever dream of, but I have an extremely limited understanding of how to use all this power. My knowledge of the recording process comes solely from me tinkering around with various recording devices and software and watching a few youtube videos. When I am recording, I typically have a vague sense that I am doing something wrong, and sometimes when I make something that sounds good, it feels a lot like luck.

So instead of subjecting you readers/listeners to weeks and weeks of poor quality recordings, I decided to try to learn a thing or two this week from my ole buddy Jason Tedford. Jason is the sole owner and operator of Wolfman Studios where he records musicians and bands in all genres and all walks of musical life. He also plays guitar for the riotous rock band Iron Tongue and is a co-owner of the brand new music shop Dogtown Sound in North Little Rock. I got to know Jason during our stint together in the band The See, and he has always impressed me as someone who is extremely kind, humble, genuine, talented, and incredibly knowledgeable about music, recording, and Star Wars. So for the small price of one Gyro Platter, Jason agreed to meet up with me Monday at Leo’s and let me pick his powerful brain. Below is an abridged transcription of our conversation— if you want to delve deeper into more technical side of our conversation, feel free to send me a message and I’d be happy to share. Enjoy!

L: Jason, this is just so the people can get to know you a little bit. You are probably the biggest Star Wars fan I know, but who are you in Star Wars?

J: Han Solo. Who else would I want to be? Han Solo.

L: I mean that’s a pretty bold claim, we’re talking about the whole star wars universe— most of us probably aren’t Luke, or Han, or Leia, or even Jar Jar— we’re probably just some dude sitting at the cantina.

J: Ok I can say I want to be Han Solo. That for sure. Whether I am him or not… I mean I don’t know, I’m a bit of a scruffy looking nerf herder. So I think I got that. Scoundrel a bit. I think I got that. He’s very anti-establishment. He’s a nonconformist. He sums me up pretty well. He’s definitely who I want to be, and he’s definitely who I’m most like. I mean I do have this (points to his millennium falcon tattoo).

L: Ok, I’ll give it to you. Here’s another Star Wars question, where does The Force Awakens rank against all the Star Wars films?

J: I’d say it’s a tie for third. First is New Hope— I saw it when I was six and it was a huge thing for me, now is Empire a better movie? Probably, but there would be no Empire without a New Hope. So second is Empire Strikes back. Third, is a tie between Jedi and Force Awakens. And then if you’re going to add the prequels in the’ll be ranked in reverse order: It’s gonna be, revenge of the Sith, Attack of the Clones, and if we have to put it in there, Phantom Menace last.

L: Ok now that we’ve gotten that out of the way, we can start talking music. So you both play in bands, and record them. Which do you identify yourself as more, musician or recording engineer?

J: Oh I think I definitely identify as a recording engineer/audio nerd, more than anything else. There have been times when I’ve gone years without being in a band, that I’ve always had the studio going on.

L: Did you start playing first? Or did you start recording first?

J:I started playing first… Well… that might not be totally true. Because when I was a little kid, I would spend hours at my grandmother’s house playing on this cassette deck doing all sorts of radio shows— all sorts of crazy stuff. And ya know, going through high school, I mean even when I was playing guitar, I had cassette decks chained together trying to record something. I didn’t really understand the concept of being a recording engineer. I didn’t even realize that was a job until I was in my first band and recording for the first time.

L: And what band was that?

J: Well it I guess it wasn’t my first band, but it was the first band I was in that actually recorded. It was a band called Pseudo Hippie, and it was all the same people who were in Ashtray Babyhead. It was like an early 90’s grunge band, we sounded like we came right out of Seattle!

L: Cool, cool, cool…

J: Eh, I don’t know if it was that cool. Haha! But we recorded, and it wasn’t real good—it was in a not great studio, but I was like “wow this is fascinating!”— this whole process ya know? And it really kinda grabbed me at that point. But it wasn’t really until the next band that I was in— which was called Marigold and we wen’t to record with Barry Poynter, at his studio which was then still at his parent’s house, and we’re recording with this dude and he has a console on a pool table and he’s tracking drums in the sun room, and we’re like “this sounds amazing” — that’s when it dawned on me “hell, I could do this!” I bought my first four track probably weeks after recording with him and was tracking stuff in my house, and that’s when it all started for me.

L: So jumping forward quite a bit, what are some of your favorite bands that you’ve recorded to date?

J: The Becoming Elephants record was a lot of fun to do— those guys are just incredible musicians. The See record was a personal accomplishment, I was really proud of The See record. The Collin vs. Adam record was really really fun and good. Who else… That’s it. Haha! No. I’m always recording with this guy Drew DeFrance— hard to say I like a particular album because he just does a ton of stuff. He’s really great to record with. They’ve got a full band now, and they’re all really good solid work your ass off players. Who else, Brian Nahlen is always really fun to work with. He’s great, writes great songs, great singer, and he’s got really great ears. Piph is really great to work with— he’s a pro.

L: And do you record using Tape or Digital? And is one better than the other in your mind?

J: I use digital. I used to have tape, but I don’t have it anymore— I mean it’s sitting in a closet, because it’s just too hard to mess with, and it’s not the type of tape that people are looking for. People are looking for 2 inch tape—16 or 24 track whatever— because it sounds better.

L: It sounds better than digital?

J: Well, two inch tape sounds better than the half inch tape that I was running. Two inch tape vs. digital? They both sound good. It’s really more of an opinion. I think that certain things sound better on tape— I think drums and bass guitar. Guitars can sound good on anything. But I think with a lot less work you can make things on tape sound a little bit punchier and a little more real and have some grain to it that is really fun and interesting, whereas you have to literally create that on the digital side.

L: Can you do that? Can you fool somebody with digital into thinking that they’re listening to tape?

J: You can. But the fact that you’ve got 90 percent or more of the population listening to music as MP3’s on their phones or streaming off of Spotify, I don’t know if it even matters anymore! Hahaha! You can listen to something and go “oh, that has a nice warm, punchy kind of feel to it” — that could have been done with tape or it could have been done with digital. I think some people, depending on the medium that they’re listening to—whether it’s vinyl, or CD, or MP3, and depending on the speakers and where they’re listening— maybe they can tell a difference; maybe they can have a preference. I don’t think it matters anymore. The funny thing, is that it’s all going to be digitized at one point or another.

L: When you listen to music, how do you listen to it— what medium do you use?

J: Usually it’s off of CD. Usually it has been ripped onto my iPod, but at full range. I don’t mess with MP3’s— I’ve got friends who are like “I’ve got 50,000 songs on this iPod of mine” and I’m like “yeah, but they’re all MP3’s, and I’d rather have 5,000 songs that sound good, than 50,0000 songs that sound bad.” I mean there aren’t 5,000 songs I’m going to listen to anyway! So that’s what I usually listen to, in my house or in my car. In my house either with my studio monitors, or in my room with my vintage Klipsch Heresy speakers.

L: So here’s a technical question. What are you referring to when you say “full range” as opposed to MP3?

J: Well an MP3 is a compressed audio file. CD’s are generally 44.1 (kHz) sampling rate, 16-bit audio files. When I’m ripping a CD into iTunes I’m ripping it in at that same resolution. It makes your file size 10 times better, but it sounds as good as it does on CD.

—At this point, Jason launched into a long and fascinating technical explanation of the sampling rates he uses during his tracking, and mixing process in the studio. I learned a lot, but I had to stop him to insist that he take a bite of his Gyro—

L: Ok so before we wrap up, I want you to try to ruin one of my songs for the public. I want you to listen to it, and tell me what’s wrong with the recording. This song is called Jesus Burger.

J: It’s kind of Beatlesy! But are you tracking any of this stuff as MP3’s?

L: This is an MP3!

J:Oh yeah I can tell… It’s very 60’s. It’s good. I like it. But I could tell it’s an MP3 right off the bat. I could definitely hear the phaseyness and the weirdness about it. The drums are a little hard to kind of distinguish, at first you can hear them and then as it goes on they kind of get muddied up in the mix. If they were a little more defined, I could probably feel the rhythm a little better. It might be an EQ thing— usually a lot of your muddier frequencies are in the low-mids, and sometimes dipping some of that out can give you a little clarity. The vocals are a little on the thin side— which may be that you are using a dynamic mic. If you got a condenser mic, that might be better. Your voice is a little on the higher side, and you’re singing throughout it, rather than screaming like some guys do. I feel like a condenser would be better for your voice. A condenser will be a lot clearer and more flattering for your voice and might sit in the mix better. We could make a great song out of that.

Thank you Jason for sitting down and talking to me! It was a totally fun and educational experience. I’m going out to Dogtown Sound now to buy a condenser mic to help make my dainty vocals a little thicker and creamier. For now, here’s another Opus recorded without the help of a condenser mic. Enjoy!

This post is part of a nine month project in which I am releasing a new song and blog post every week. If you want to get caught up, here are the links to the previous entries:

Nine Months of New Music— Opus 1

That’s Masturbation—Opus 2

Oblique Strategies—Opus 3

A month ago Whitewater Tavern was packed for the final show of the eight-year old Little Rock band The See. Over the course of the cathartic hour and a half long set, I saw audience members dancing and singing along and at least two bearded band-members kiss former bandmates on the lips. Since 2007, when Joe Yoder (vocals/guitar) and Dylan Yelnich (bass/keyboard) founded the band, The See has played countless shows, recorded two-full length albums, been dubbed the “Kings of the Scene” by the Arkansas Times, and toured the country. Despite numerous cast changes (Louis Watts played guitar and sang briefly before leaving the band, then Eric Michael Morris joined on lead guitar, then Dylan and Eric left the band, and finally Jason Tedford and I stepped in on bass and guitar respectively), The See was able to endure because the signature pieces were always present: Tyler Nance’s heavy drumming and Joe’s infectious singing. The See is finally ending because the voice and vision of the band is going away. Joe is moving to Kansas City, and thus Arkansas is losing one of its best songwriters.

Joe started writing songs in seventh grade when he first learned how to play a power chord on guitar. Enchanted by his new power, Joe brought his mom to his room to hear his first song equipped with verses, chorus, and a bridge. When teenage Joe wasn’t at school or work, he was likely seeing live music at Vino’s or buying CD’s at Rod Bryan’s record store Anthropop (sadly, this is a very dated sentence— Anthropop is closed, Vino’s has declined, and no one buys CD’s anymore). Inspired by local groups like Ho-Hum and Ashtray Babyhead, Joe started his first band Attacking the Audio in 2000 when he was a sophmore in High School. He and his bandmates Mark Chisenhall and Taylor Willet recorded at Blue Chair Studio when it was still just a small shed. Soon after, Joe started another group called the Dischordos with Charles Lyford, Gaines Fricke, and Tim Tellez. In both of these groups Joe was the cornerstone piece, playing guitar, singing, and writing songs. Joe also played bass for a couple of other bands in high school, but recently said to me “any band I have been in, even if it was a jam band that I was playing bass for, I would always write or lead the jam. Song writing is my strong suit, not my ability as a player— it’s how I contribute.”

After moving to Tempe, AZ to attend college at Arizona State, Joe and Mark formed a more mature version of Attacking the Audio with fellow Arkansas transplant Louis Watts. Although Joe’s musical skill and creativity was apparent in college, he was still experimenting with his sound and artfully imitating his favorite groups. A home recording from 2003 called “All for You” showcases not only Joe’s love of Radiohead, but also two trademarks of Joe’s songs that he has carried with him to this day: 1. Long moments without any vocals, highlighting the instrumental side of the song and 2. Drastic section changes, switching from one mood to another within the same song. Listen for yourself.

ALL FOR YOU

Joe graduated from ASU in 2006 with a bachelor’s degree in film and theatre. Despite such a practical degree and likely countless job offers, Joe (like many graduates) didn’t know what he wanted to do with his life. After a bad breakup he left Arizona and went to Nicaragua for a month to build houses with his dad. He then moved in with his parents in Springfield, MO to save up for an epic road trip with his friend and band-mate Louis, all the while continuing to write and record songs. Joe and Louis spent nearly three months traveling all over America before Joe finally moved back to Little Rock in the summer of 2007, wishing to start a new musical project. By the time Joe moved back to Arkansas, though just 23 years old, he had been writing songs for over a decade.

Given Joe’s musical experience, a talented rhythm section in Dylan Yelnich and Tyler Nance, and numerous connections to the Little Rock scene, The See quickly gained popularity after forming in 2007. Joe even wrote some of The See’s most enduring songs when they were still just a three-piece. The song “Selling Gold,” written during this period, may be the band’s most popular song and to me is the prototypical Joe song, incorporating a long intro (almost a separate song), biographical lyrics, passionate singing, and a catchy guitar riff that can stand on it’s own with out lyrical support. Here is the very first version of the song recorded in 2008 at UALR, (though there’s a more polished version on The See’s debut EP Selling Gold if you can find it).

SELLING GOLD

The See hit their stride after lead guitarist Eric-Michael Morris joined the band in 2010 and provided the chord support, solos, and counter melodies the band needed. They played numerous shows in and out of town, performed at festivals like Arkansas Sounds and Riverfest, made it to the finals of The Arkansas Times musicians showcase, and continued to write new material. In 2012, Joe, Dylan, Tyler, and Eric recorded and released The See’s first full-length album, Pretending and Ending, with songs inspired and organized by the progression of birth, to childhood, to adulthood, to old age, to death. Fittingly, the tastiest ear-candy comes early on in the 15 track album. If The See had been in a bigger market with wider distribution and better promotion, I think we might be hearing the song “Hey” on alternative radio stations throughout the nation.

HEY

In early 2013, Dylan and Eric left the band on good terms in order to pursue their careers, but Joe and Tyler, encouraged by their strong new album, still wished to continue The See. Furthermore, they had already booked an April gig in Denver for a friend’s birthday that they didn’t want to back out of. Luckily Jason Tedford and I were eager to fill in and provide the missing pieces— I played good lead guitar and Jason gave the band literally everything else it needed (bass, foot pedal synth bass, amps, pedals, practice space, recording capabilities, and tour van). We played our first gig together at a Pizza restaurant in Denver to a largely lesbian audience who loved our big beards and loud rock (the opening artist performing at the party was a local lesbian singer-songwriter who brought out a large lesbian following). We introduced The (new) See to Little Rock at a Garland Street Art Party later that spring, and by summer I had realized one of my teenage fantasies: tour the country with a rock band. You can read about The See’s sandwich fueled do-it-yourself tour of summer 2013 in my past blog posts here.

Joe is not your stereotypical rockstar. Despite an enormous voice and robust appearance, Joe doesn’t revel in being in the spotlight. Joe makes music because he loves to make music, not because he wishes to be the center of attention. I suspect he enjoys writing and recording songs more than actually performing them—The See has certainly spent more time in the studio than on stage the past two years. The result of this time is an album called Borealius. It is a collection of old and new Joe Yoder originals enhanced and updated by the band and recorded, mixed, and mastered by Jason Tedford at his own Wolfman Studios. Tyler, Jason, and I are all pleased and proud of our contributions to this album, but I still think of this as Joe’s parting gift to us all as he leaves for Kansas City (it is quite literally a gift as you can download it for free here).

BOREALIUS

I suppose I should mention that Joe is my brother-in-law. He and my sister Liza are moving in July so that she can do a medical fellowship at a hospital in Kansas City. Joe’s no slouch either: he’ll be going to the University of Missouri-Kansas City to get a masters in social work. They’re facing a new job, a new school, and a new town, yet the most significant change is the new life that one of them could literally be holding in their arms at this moment. This past Wednesday, Liza gave birth to a beautiful baby girl.

Bridget Murray-Yoder is an adorable creature— as my friend Carmien said, “she looks like a human and not a potato-dinosaur, which is what most newborns look like.” I would love to spend the rest of this blog talking about how she is objectively cute and will surely be the most magnificent person this world has ever seen, but you would probably stop reading. Also, this is a music blog (I am reminding myself), so I think instead I’d like to tell you what this monumental moment means to Joe’s musical life. In sum, “suddenly everything has changed.”

You, reader, are warned that this paragraph is going to get flowery for a moment. When I saw Bridget, I felt my world expand. When I held her, I couldn’t stop gazing at her sleeping face— I wanted to make her feel happy, comfortable, and loved forever, and I’m only an uncle. I know that Joe and Liza are experiencing these feelings to an even higher degree. Yet songwriters rarely touch on selfless love. Most songs are about heartbreak or lust. This is because they are true forces that everyone has felt preoccupied with at some time, and good songwriters often sublimate the pain and passion of their life into their art. And that is exactly how I would brand Joe’s songwriting: he takes the real experiences and emotional content of his life and translates them into something that sounds good. Thus, I can’t wait to hear how the new dimension of fatherly love sounds in his future songs.

I am taking it for granted that there will be new Joe Yoder songs. Although he doesn’t (for now) have a band to play with in Kansas City, I know that Joe couldn’t stop writing songs if he tried. Songwriting has been a primal urge of his since he first started doing it in seventh grade. Joe admitted to me that he dreamed of gaining fame and fortune with Attacking the Audio, the Dischordos, and finally The See, yet I’ve seen firsthand that this is not why Joe writes songs and plays music. When we went on tour, Joe enjoyed himself, but also missed being at home with Liza and didn’t try to indulge in the proverbial “rockstar lifestyle.” Despite discovering a mild distaste for touring-band life, Joe was writing songs for the next See album within a matter of months. Joe doesn’t write songs to get rich or to attract girls (though I’m sure those have been motivators at various times in his life), he writes songs because he is good at it and it allows him to communicate his most honest thoughts and difficult emotions. Talking about why he writes songs, Joe recently said “when you believe you’re good at something, and people tell you you are, really cool things can develop in anything you do. So songwriting became a huge part of who I am and how I cope and relate to others. It feels great to create things that others can appreciate and listen to.”

Joe played his first song for his mother in seventh grade because he wanted to show his new means of expression to the person that he was the most deeply connected to. 18 years, 6 bands, 2 albums, and scores of songs later, and Joe now has a child of his own. I imagine that she will now be the first to hear his new songs. Because, plus ça change, plus c’est la même chose.

MOM