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Post by YesterdayOnceMore on Feb 16, 2006 11:39:30 GMT -5
Hi Palma You can select the graphics from the left when you are writing a post - under where it says Select Smilie - or you can just punch your mouse on the graphics above. They will come out on your post. If you want to see them first, then preview your post to be sure it's what you wanted. If you want to bold, italicize or marquee them, etc, make the font different, bigger, etc., those butons are on top of the smilies - called tags. It's a bit more time consuming, but they are fun. Just a quick question - have sent you an email or two via regular email some with pics and one with a story you'd asked about....since I have not heard back from you via email, I'm curious - did you even receive them? Let me know - if not, I can certainly resend. Looking forward to The Broken Cup. I just know it will be a truly inspirational addition to my life. Best to you, Tim
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Post by YesterdayOnceMore on Feb 17, 2006 16:16:41 GMT -5
OH, MY GOODNESS !!!!!!!!!!!!!! I can hardly type, I am filled with such emotion I can't even tell you.....but believe me everyone, YOU MUST ORDER THE BROKEN CUP. It's just beautiful. I am just sitting here, listening, with a big lump in my throat and hot tears in my eyes. And....a big smile on my face. It just came in the mail today. Palma, I can tell you're Italian (even without the obvious last name give away) - "Heal Me" is such a beautiful song, and you sing it with such ferver - so prayerfully - and it sounds very Tuscan in its musical composition. Your voice is absolutely gorgeous! Get Up One More Time....what a beautiful love song...the tunes are lovely - and your voice - well, what can I say? It's so easy to listen to - very much your own, but I hear Karen in there.......!!!!!! The guitar solo in this one reminds me of Tony Peluso's solo in "Goodbye To Love." Well, well done. Okay, I won't give any more away. It's just a wonderfully done CD, and I encourage everyone to get your copy. You won't be sorry. So uplifting, so encouraging, and extreemly beautiful! BRAVO! Ciao! Tim And yes, I did Talk to Him today...it was good.
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Post by BethMosior on Feb 17, 2006 20:35:41 GMT -5
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Post by Rick Henry on Feb 17, 2006 23:10:52 GMT -5
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Post by palmapascale on Feb 18, 2006 13:34:44 GMT -5
Oh, wow, what good timing you guys all have! Just checking the "thread" and feeling a little "blue "myself, and what do I read but your wonderful, confirming and supportive notes to me! You have all done so much to lift me up today, you have no idea.
Tim, I got choked up myself reading your heartfelt comments about THE BROKEN CUP! I was nodding my head, "yes" to everything you said...you so GOT IT! Thank you, my friend. I am thrilled that it has moved you so much. My studio engineer and coproducer, Fred, played the solo at the end of "GET UP ONE MORE TIME" and I thought it was totally inspired...he got it right away. He is going to be thrilled to read your compliment...he gets plenty of attention as an engineer, but not many know he can play a great guitar solo!
Yes, Tim, I got all your previous email. Sometimes I neglect to answer all my "mails" but I did read everything, so thank you. Thanks, too, for the tips on posting the smilie faces, etc. I have to try it.
Beth, hang on! I love your notes to me, and know things will be getting better for you everyday in little ways.
Rick, just like you, to be right on the spot, with your providing the info for our friends to get some of the songs I've written. Once again,you are so kind to this songwriter/singer! I want to comment, also, that you are the first person who made mention of the song "MAKER OF ALL THINGS" as being a favorite. I find that SO INTERESTING, since I was thinking about that very song just a couple of days ago, saying to myself "I wonder if people really get into the deepest meanings of that song...there are many, but the standard, almost 1950 ish rock and roll backdrop belies the depth of the words," and then, there you are, deep guy who "GOT IT." You, my friend, are the "JAMES LIPTON" of the composer-lyricist's world...you make the observations that surprise and flatter the artist.
GET UP ONE MORE TIME was the very first Christian inspired song I wrote, and I am so pleased it has become of favorite among you. I sing it live alot, because I think people need to hear it's most encouraging message....I know I DO!
Once again, my dear friends, your support means more than you know. Love to All! Palma
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Post by YesterdayOnceMore on Feb 24, 2006 13:51:46 GMT -5
Palma, in trying to keep this thread alive, I have some specific questions about your recording process, if you don't mind sharing them, (sort of like you did in your interview, about your song submission to Carpenters). I'm curious - I have listened many times to The Broken Cup, and as you know, am sequencing some of the songs to do myself, (thanks for encouraging me to do this). At any rate, I'm curious about the following - It sounds as if the strings are synthesized in spots, and not in others? Is everything done on a synthesizer, and are you playing it? Secondly, how about the oboe, and the harp? Is that you, as well? (I'm thinking yes, but wanted to ask). Your guitarist and drummer are live, I can see by your CD cover. But I'm assuming you did all the other instrumental "voices", if you will? ;D What track did you lay down first? Did you do a basic trio - i.e., piano, bass, drums track, then go back and embellish it with the other instruments? Vocally, on several of the songs, I hear at least 3, and sometimes I'm thinking more parts. How many parts did you overdub all together? On Maker Of All Things - it sounds like you're double-singing the melody....is that the case, or is it just the effects processor you're using? It's quite a powerful song. That's all for now. Thanks in advance for your answers. Tim
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Post by palmapascale on Feb 25, 2006 14:50:46 GMT -5
Hi Tim! Thanks for the great questions...only a real musician would be interested in these details I suspect! You are right...almost ALL the parts you hear are executed by me. I play the piano LIVE first, carefully laying out the form, the right tempo, any tempo changes and sometimes use a click track and sometimes not;for example on songs that are ALL FEELING and vary tremendously like "HEAL ME" a click would be extremely disruptive to the mental process; I am usually mindful of whether a drummer or guitarist might be added later and absolutely need the click. I work with very talented people who can generally negotiate their parts without the time keeper, but clicks make musicians feel more secure. By the way, this is odd, but I added the guitarists(Mark Newman, and my studio engineer Fred Guarino) after the main tracks were laid, and the drummer (Rob Levy) played after the fact as well. I often work this way. It's hell for drummers.
The strings were all generated from the computer software. Fred finds just the right instrumental sounds, and then I play them with my hands on the keyboard. This is true for all the orchestra elements, like oboe and harp and flute. Sometimes I actually play nylon string guitar parts (straight strumming, individual solo lines) on the keyboard as well...you can hardly tell the difference.( I am sure I did some of that on this album as well.)
My background vocals are usually 3 or 4 individual parts, each doubled. I make them up on the spot, and double them exactly...even Fred marvels at this after all these years. Small quirk of mine, I never want to hear the part I just sang when I am doubling it, since it throws my pitch off...I can't tell which is the "new" part and which is the original, and therefore I can't control it, since the double is so exact, even down to the breathing and the length. You can see the complication of background work on a tune like "GOD'S HANDS" because you have the responses as well as the first group.
You are right about MAKER OF ALL THINGS! I did an actual vocal double...it seemed like a good thing to do on this 50ish "girl group" kind of lead vocal. I always LOVED my voice doubled. I really sang it...it was not an electronic double. I used to love this technique when Karen did it, too.
Well, Tim, it's a pleasure to give you some answers! Thank you for being interested! Will be sending you some of the Pop records soon. I am SURE you will be singing those in your hometown soon, too! I am reissuing those CD's and reproducing them, so give me a little time to get your order out to you...I will be sure to send you the one with the uptempo, fun version of "LOVE ME FOR WHAT I AM" as soon as they are pressed! Thanks again for all your support!' Love, Palma
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Post by YesterdayOnceMore on Feb 27, 2006 10:03:45 GMT -5
Hi Tim! Thanks for the great questions...only a real musician would be interested in these details I suspect! You are right...almost ALL the parts you hear are executed by me. I play the piano LIVE first, carefully laying out the form, the right tempo, any tempo changes and sometimes use a click track and sometimes not;for example on songs that are ALL FEELING and vary tremendously like "HEAL ME" a click would be extremely disruptive to the mental process; I am usually mindful of whether a drummer or guitarist might be added later and absolutely need the click. I work with very talented people who can generally negotiate their parts without the time keeper, but clicks make musicians feel more secure. By the way, this is odd, but I added the guitarists(Mark Newman, and my studio engineer Fred Guarino) after the main tracks were laid, and the drummer (Rob Levy) played after the fact as well. I often work this way. It's hell for drummers. Hi Palma, thanks for answering my questions. Yes, I am familiar with a "click" track, having used one myself many times. They are helpful. And of course, on those more rubato numbers (all done via "feeling" rather than "time") - it would be absolutely worthless to use a click track. I completely understand laying the piano tracks, first. I wish I had done that when my family did our gospel album many, many years ago....but I used an entire rhythm section, and consequently, after listening to it over and over again, almost everything was recorded just a bit too up tempo. I mean, it didn't seem so at the time, but do I ever wish I had the luxury of time then, as I would have rerecorded the entire thing, because we just went too fast with the instruments. Things like the cowbell, tamborine, etc., were added after the final vocals were in place, and I could tell where I wanted them. For a "very first recording attempt" it wasn't all that bad, though I cringe sometimes if I should hear it. I never listen to it any more. Yes, you do have some incredibly talented individuals working with you - as I've already mentioned, Fred's guitar is great - his solo reminds me of Tony Peluso's solo on Goodbye To Love. But, all of his parts are executed quite well, and to know that both he and Rob Levy were not added to these tracks until they were all laid down is not something I've heard of before, but I can sure see how it would work - well, especially for the guitars - I would imagine Rob has to be pretty wonderful to be able to record this way. He must have a real comfort zone with the "direction you're going to take" as he's listening. Good percussionists are like that. My friend Rex, who I worked with for years and years, knew both my keyboard style and vocal style, and knew right where I was going, and his style was so "tasty" - we worked together so well. I suspected that you played the other parts yourself. Whew! How talented you are. The strings were all generated from the computer software. Fred finds just the right instrumental sounds, and then I play them with my hands on the keyboard. This is true for all the orchestra elements, like oboe and harp and flute. Sometimes I actually play nylon string guitar parts (straight strumming, individual solo lines) on the keyboard as well...you can hardly tell the difference.( I am sure I did some of that on this album as well.) Again, I suspected you have all of this in your mind, and played all of the additional parts. Do you know already what you want to play, or do you just build it as you go? This has always been my biggest weakness - as I like to add TOO MUCH, and then it takes away from the effectiveness of the piece. I've learned not to do that as much, but I'm curious to know your technique. My background vocals are usually 3 or 4 individual parts, each doubled. I make them up on the spot, and double them exactly...even Fred marvels at this after all these years. Small quirk of mine, I never want to hear the part I just sang when I am doubling it, since it throws my pitch off...I can't tell which is the "new" part and which is the original, and therefore I can't control it, since the double is so exact, even down to the breathing and the length. You can see the complication of background work on a tune like "GOD'S HANDS" because you have the responses as well as the first group. You are right about MAKER OF ALL THINGS! I did an actual vocal double...it seemed like a good thing to do on this 50ish "girl group" kind of lead vocal. I always LOVED my voice doubled. I really sang it...it was not an electronic double. I used to love this technique when Karen did it, too. Well, Tim, it's a pleasure to give you some answers! Thank you for being interested! Will be sending you some of the Pop records soon. I am SURE you will be singing those in your hometown soon, too! I am reissuing those CD's and reproducing them, so give me a little time to get your order out to you...I will be sure to send you the one with the uptempo, fun version of "LOVE ME FOR WHAT I AM" as soon as they are pressed! Thanks again for all your support!' Love, Palma Absolutely amazing that you don't hear the part you're doubling. Now that IS talent...not a quirk - you know what you want, and how you want it, that's all. That's really amazing. I couldn't do that. Definitely, not! I suspected that you doubled your voice several times, and it is a "wow" factor in your music. I love your voice doubled too. It sounds fantastic. Yes, Maker of All Things lent itself to this very, very well. Same thing on The God Who Loves Me? Yes, I can certainly see the complicated work you've done not only on Gods Hands, but throughout this entire compilation. That's one reason it's captured me so..... Thanks for providing me answers, Palma - you're sweet to do so. One big question - altogether, how long did it take in the studio to get this one accomplished (approximately)? I have an idea - but would like to know from you. They weren't "easy" sessions, I'm quite sure. Don't worry about how long it takes for the reissues. Take as much time as you need, no problem. I am looking forward to hearing another realm of your incredible talent in the pop genre. I imagine you're right - undoubtedly I'll be singing these as well. Thanks again for all of us here at Carpenters Online for taking the time to respond, and let us get to know you and your processes just a bit better. Tim
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Post by palmapascale on Feb 27, 2006 13:19:28 GMT -5
Hi Again, Tim! I wonder if our thread chats are interesting to the others?? You are so hip to the technical, your questions are really excellent. A few thoughts on your recent posting:
I really "feel" for you about your mixed feelings concerning the gospel album you made awhile back, and how those regrets about tempo can come back to haunt! Now, sometimes we are too critical about those things, and the recording is actually FINE, but no matter, it always bothers US as we listen, and the expense of redoing it makes that out of the question. You are SO RIGHT about how you get locked into the original decisions when you play with the whole combo at one time...I always feel limited about asking the other players for the level of perfection I would like, and with the time limits, and not wanting to be too critical , mindful of the sensitivity of other musicians, I will sometimes let things "go" that I wish were a little different. So laying the piano down alone gives me full access to the changes I might want. Also, I always remember a saying we have in the studio" NEVER A PERFECT DEMO." (Yes, even "finals" are demos to studio musicians like me!) My friend, Pete, a guitarist and trumpet player has another saying I find very useful: "YOU CAN PLAY IT AGAIN AND AGAIN. YOU WILL GET SOMETHING DIFFERENT, BUT NOT NECESSARILY BETTER." (I remember that saying ALOT when I work.) Bearing all that in mind, you might want to listen to your album with different, less critical ears.
I have an interesting way of working on the orchestrations. I DO NOT PLAN ANYTHING!!! I open my mind, relax completely, and allow myself to BECOME the violinists, the harpist, the PLAYER, and Fred just begins to record my first attempt. You would be surprised how many times the first shot is the final take...I do very little refining of the part, so maybe I will do three passes or so, and I depend on Fred's ears to make helpful decisions about whether I played too much, or could have been more inspired, etc. If he seems pleased, I generally go right on to the next instrument or counter melody, and hardly EVER listen back or micro manage any of it. If I am struggling with something, it is usually NOT going to be an effective part in the end, so I am quick to ditch any idea and move ahead. You would be surprised at how quickly I can abandon any idea for another. Less is generally ALWAYS more, so I never see my parts as "too precious" to toss. That's probably what gets my orchestrations done so fast.
By the way, Fred and I do not wait til THE END or the MIX to edit out parts or pick a good take...we do that ON THE SPOT, deleting and deciding ruthlessly, bravely. We are especially mindful of how precisely the FEEL of the rhythm tracks line up. This is critical to a track, and is often overlooked by people who are anxiously focusing on a particular string line, or vocal twist. We never make that mistake.
I would say each song on THE BROKEN CUP took between 7 and 10 hours, including mixing and mastering to complete. Let's take the actual song "THE BROKEN CUP" as an example. It was, by the way, the first one I recorded for this CD and was extremely important to me because I wanted it to contain only CLEAN, CLEAR ,SIMPLE parts in the orchestration. Cutting the piano part took about 1 hour...practice a few times, decide tempo and length, don't fill in everything with the fingers on the keyboard since more instruments would follow. We probably "took" only two full versions, and decided quickly which one to use. I usually sing over the track in the control room, to be sure my vocal will be comfortable on top of the disembodied piano part.
I am sure I laid a bass part next (keyboard.) It must have taken some time for Fred to find just the right sound of a bass, which is part of what consumes time in the studio...there are many choices and subtle elements to the engineer's job...The actual part must have only taken about 20 minutes to play, and "check" with a listen back.
The woodwinds I pick at random, and laid down with not much trial and error. Maybe another hour and a half, along with harp. We generally don't add any percussion effects (like cymbal swells, windchimes, etc) til the record is almost done. I always love the english horn and oboe, and give myself "chills" with the effect of those instruments. Fred and I generally exclaim "OOFAH!" when we listen back to the track with those parts added! It's the stuff that moves the listeners to tears, don't you think??
Strings, etc., again all are added in an "experimental" frame of mind, and maybe take another hour of tinkering with the actual sound, and the playing of the part, which takes another half hour. Tim, I swear, I never play a part more than about one to three passes, and then just move on to something else. I figure God's inspiration can be delivered to my hands quickly. He never fails me. Even on NON-CHRISTIAN projects!!!
The hardest part on BROKEN CUP fell to the extremely talented Mark Newman, studio guitarist. He must have played for two hours straight, executing the very complicated, exacting chord changes and inversions that only a pro could have played as I would have wished them. Although the song SEEMS simple, there are constant bass inversions, suspensions and small lines that appear throughout. He also had the difficult job of subdividing his strumming to yield a perfect rhythm, not easy to do, even with the click track. I felt so bad that each chord change was a "trap" for a guitarist to negotiate, but he is a real PRO, and worked out his parts diligently to give me what I wanted. His playing is featured prominently throughout the CD, and no one but a first rate, studio player, could have finessed the guitars like he did. (I thought his one take work on GOD'S HANDS turned that little ditty type tune into a captivating catchy, countrified gem...)
Lead Vocals are just about last, and I record about 3 to 5 separate takes, and we assemble the best of them. Background vocals are sketched very quickly with a few "guide notes" on staff paper, and I just dive in and do them. Very little changing, no decisions later, everything decided and edited as we go. Sometimes I add very high notes, out of my normal range, just to give "the impression" of a full chorus. I get away with it because I don't have to be featured up there, just painted in. Again, less is more in terms of overdoing parts. Sometimes too many "oos" and "ahs" get annoying, so Fred gives me "that look" and we dump the parts. I never take it personally!!!
Well, I certainly have rattled on here, Tim. I bet the other readers bailed out a long time ago on the technical "saga" of the studio stuff! I really enjoy your questions, and can't wait to hear some of your versions of my songs. I bet they are going to be very good. Hi to all of you out there who may have been reading along! Always love to hear from all of you. Thanks again for all your love and support. Love, Palma
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Post by YesterdayOnceMore on Feb 27, 2006 13:45:40 GMT -5
Well, I certainly have rattled on here, Tim. I bet the other readers bailed out a long time ago on the technical "saga" of the studio stuff! I really enjoy your questions, and can't wait to hear some of your versions of my songs. I bet they are going to be very good. Hi to all of you out there who may have been reading along! Always love to hear from all of you. Thanks again for all your love and support. Love, Palma More later but for now.....you won't have to wait long....just check the mail today or tomorrow...... ;D ;D Tim Okay all you Carpenter fans out there.....what do you think of these marvelous answers Palma has so graciously taken the time to give me? I know you, too, must have more questions, yes? Let's hear them, please and thanks. Tim
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Dave
Ultra Emissary
"sleeping in the arms of the cosmos..."
Posts: 1,515
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Post by Dave on Feb 27, 2006 20:06:15 GMT -5
I think that it's a fascinating look into the "construction" of a song. In its way, the subtle art is very much like project engineering, with its various tasks. I used to wish that I could play, or sing, but my talents are in a vastly different area. Thanks for sharing the process with us, Palma.
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Post by palmapascale on Feb 28, 2006 13:58:41 GMT -5
Hi Dave! Nice to see you again on the thread. Thank God for engineers! They keep the world going while decorative people, like me, can have the freedom to make frilly "art!" You keep the solid foundation under the feet of those of us operating in the unreal world! Hope we are keeping you entertained!
All of you need to know how talented our friend, TIM, is. I got his version of my song "GOD'S HANDS" yesterday, and he is an accomplished musician and singer who made my song his own and delighted me with his abilities! He sounds like a TEENAGER, his voice is so strong, accurate and appealing. He accompanied himself in an artful rendition of my original. You MUST demand to hear it! Maybe Rick will post a sample of the talented Missouri Man. I am honored to have his version of my song. I hope he will perform and record more of them.
Wow, who thought so much good could come from all this? Thank you again, Rick, for allowing me into your universe. This site has so many good people attached to it. Love, Palma
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Post by YesterdayOnceMore on Feb 28, 2006 17:28:30 GMT -5
My dear Carpenters family: First, let me just tell you I couldn't be smiling any broader, or feel any better inside than I do right now. Palma, thank you so for the compliments. You flatter me, big time!! The tape that I actually sent you was just me playing around....however, thanks to a visit from my youngest over this weekend, I have more "properly" recorded "God's Hands", complete with backing vocals and harmony parts..... and yes, should Rick wish to post it, I can send him my version via e-mail, I think - as I recorded it on this very computer. I'm pretty happy with it, and will use the "track" version, repleat with backing vocals, at church this Sunday. PLUS, I wanted to share with all of you (those who knew I was downsized from my wonderful job in November), that I accepted a new wonderful job, just today. I had been hoping this would be the right job for me, and God said yes, it was. Palma's "The Broken Cup" was good spiritual medicine for me....I started playing music again after a rather long hiatus, I'm afraid. I'd lost interest. But, this inspirational, and exceptionally recorded CD inspired me not only to start playing/singing again, but to get myself into the recording stuido. Thank you, Rick, for introducing Palma to us, and thank you, Palma for your extraordinaryly beautiful music. Rick, you should know that being able to tap into the spirit of those on this forum has kept me going for months, now. What would I do without each of you? And thanks to each and every one of you who have been holding good thoughts and sending prayers my way....many of them were answered just today. Tim
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Dave
Ultra Emissary
"sleeping in the arms of the cosmos..."
Posts: 1,515
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Post by Dave on Feb 28, 2006 20:14:00 GMT -5
"Hi Dave! Nice to see you again on the thread. Thank God for engineers! They keep the world going while decorative people, like me, can have the freedom to make frilly "art!" You keep the solid foundation under the feet of those of us operating in the unreal world! Hope we are keeping you entertained!"
Howdy, Palma. It's nice to see you, too, and that the computer isn't causing you grief! Did you know that last week (I think) was Engineer's Week? Me neither. I had lunch on Thursday after surveying a chemical plant for a calibration job in central PA. Hey, we all work together. I keep the lights on, and you make the miles I drive enjoyable. Symmetry that anyone can appreciate.
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Post by Rick Henry on Feb 28, 2006 22:59:34 GMT -5
Wow, this is some great stuff going on.
First Palma, I thank you for joining our community. We have all been joined together for good reason. God surely does have a plan.
Tim, congratulations on the new job. I will be more than happy to post a sample of your song. Please email the song to me. I also have another sample from Palma to post.
This is great I am so happy to see good things going around.
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Post by BethMosior on Mar 1, 2006 3:55:43 GMT -5
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Post by BethMosior on Mar 1, 2006 4:11:39 GMT -5
I agree Dave, its really interesting how music is made I could sing when I was young ( or at least carry the notes I was singing ) but had a hard time with any thing else I wish I could have done archaeology in Egypt, Israel OK anywhere but never got the chance ( I got sick ) I also read alot about SPACE so I'm glad someone like you is doing alot for SPACE projects like what Palma was saying
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Post by YesterdayOnceMore on Mar 1, 2006 9:15:12 GMT -5
Rick, thanks! You are absolutely right about how great it is that Palma has joined our family here - and we definitely have YOU to thank for that. God truly does have a plan....and we're all incuded in it. I am delighted about my new career opportunity - I think it's absolutely the RIGHT job for me. I will be the number 2 guy at this new company, and I thank God for the opportunity. Insofar as sending you my rendition of "God's Hands" I thank you, and am humbled by your agreement to put it out there. (Thanks, Palma, for your flattering comments)....what I'd like to do is this - once I am sure Palma has the newer recording (the CD I completed yesterday), I will email it to you for posting with Palma's other sample that you mentioned. It should be sometime next week. Again, thanks to you, Dave, Beth, Rick, Palma, for all your kind words. The magnificent family on this forum is just....well, the GREATEST! Tim
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