This video of "Typical" acappella (brought to my attention by Jordan Mattison) brings a smile to my face. Enjoy:
Tuesday, December 02, 2008
Thursday, September 25, 2008
Radiohead "Reckoner" Remix
I had a lot of fun messing around with Radiohead's "Reckoner" audio stems (downloaded from iTunes for $0.99). Just about everything you hear was created using the human voice a la Bjork's Medúlla (but not quite up to par if you ask me; nevertheless, it was interesting to attempt the remix this way.) I only ended up using Thom's voice from the stems. Anyway, please vote and I hope you find it interesting.
Wednesday, September 24, 2008
Viva la Revolución!
You say you want a revolution
Well, you know
We all want to change the world.
You tell me that it's evolution,
Well, you know
We all want to change the world.
But when you talk about destruction,
Don't you know that you can count me out. In.
Don't you know it's going to be all right,
all right, all right.
You say you got a real solution
Well, you know
We'd all love to see the plan.
You ask me for a contribution,
Well, you know
We all do what we can.
If you want money for people with minds that hate,
All I can tell you is brother you have to wait.
Don't you know it's going to be all right,
all right, all right.
You say you'll change a constitution
Well, you know
We'd all love to change your head.
You tell me it's the institution,
Well, you know
You better free your mind instead.
But if you go carrying pictures of chairman Mao,
You ain't gonna make it with anyone anyhow.
Don't you know it's going to be all right,
all right, all right
Wednesday, August 27, 2008
On being a father . . .
Being a father (of a six-week-old boy) is like . . .
*moving into a new place, but a historic home that leaves a lot for discovery;
*pushing the limits of an old car as you drive all night to find that requited love;
*forgetting and remembering everything all at once;
*searching for hours at the local vinyl shop for that one rare jewel;
*finding out that you got an "A" in algebra class;
*hiding in the closet, hoping no one hears you breathing;
*walking out of the doctor's office with a new pair of glass (you quite haven't adjusted);
*moving into a new place, but a historic home that leaves a lot for discovery;
*pushing the limits of an old car as you drive all night to find that requited love;
*forgetting and remembering everything all at once;
*searching for hours at the local vinyl shop for that one rare jewel;
*finding out that you got an "A" in algebra class;
*hiding in the closet, hoping no one hears you breathing;
*walking out of the doctor's office with a new pair of glass (you quite haven't adjusted);
Saturday, July 19, 2008
"Amexicano"
I wanted to share this trailer of the new film Amexicano with all of you and encourage you to go see this film. It stars Raul Castillo, my childhood friend and a great actor. ¡Felicidades Raul!
Wednesday, July 02, 2008
Combi Car Crash
I'll never forget my first driving lesson: Matamoros, age ten, and combi.
Actually, it shouldn't really be called a "driving lesson." It was just a sort of test run, a chance for me to prove to my cousin Hugo that I could drive his truck back to the house alone after we picked up his car from the shop; it went something like: "you can drive, right?"
"Yeah, I think so." That was that. No vocalized are you sure? or when was the last time you drove? But that wasn't necessary. My cousin knew I was lying; after all, I was only ten. I probably wasn't lying, but just delusional. At ten, I could play Orbison's "Pretty Woman" on guitar but I was still too short to get on the Texas Cyclone at Astroworld. Maybe, Hugo thought that I'd get luckily, or more importantly, that he'd get luckily, and I would turn out to be of some help around his house.
Before I knew it, I was in the driver's seat of what I remember to be a nice truck for the time, maybe a mid-1980s GMC Silverado. I cranked up the engine; put it into drive (too bad it wasn't a standard [de cambios] - it would have saved Hugo some money and me some embarrassment); and "¡dale gas!" We were cruising in Tamaulipas.
Everything seemed to be fine on the nice, empty back road, but that only lasted for about thirty seconds. Soon enough, we hit a busy intersection and the lines in the streets started getting blurred to every one around me; it seemed that I was the only driver who knew they existed.
My head began to spin as cars, buses, and combis weaved and bobbed around me, paying no attention to the rules of the road (¡ay México!) In and out, in and around, in and out, honks and stares . . . I blanked in the middle of it all as soon as this white combi taxi raced around me and began to slow down all of a sudden in order not to hit a large bus. I really panicked and didn't know what to do even though Hugo was telling me very clearly to slow down and veer to the left, but like a tracker beam, I was locked-in, destined to hit it.
A combi serves as a small bus, but it's not even a bus (check out above); it's more like a crappy van with a million people hanging out the sides, really safe and effect means to get around the city. Ultimately, they served as an annoyance for drivers like me. Now, I didn't plow into the combi, but I scrapped it as we flew down the road side by side trying to avoid hitting a very large bus.
Immediately, Hugo calmly asked me to pull over, and I felt so ashamed. I could hardly look at him, but he was completely cool. We got out and took a look at the damage, and he wasn't even bother by the serious dent and paint peeling I had just added to the front of his truck. I couldn't believe it.
I'll be forever indebted to Hugo's coolness, and I'll never drive in México again.
Actually, it shouldn't really be called a "driving lesson." It was just a sort of test run, a chance for me to prove to my cousin Hugo that I could drive his truck back to the house alone after we picked up his car from the shop; it went something like: "you can drive, right?"
"Yeah, I think so." That was that. No vocalized are you sure? or when was the last time you drove? But that wasn't necessary. My cousin knew I was lying; after all, I was only ten. I probably wasn't lying, but just delusional. At ten, I could play Orbison's "Pretty Woman" on guitar but I was still too short to get on the Texas Cyclone at Astroworld. Maybe, Hugo thought that I'd get luckily, or more importantly, that he'd get luckily, and I would turn out to be of some help around his house.
Before I knew it, I was in the driver's seat of what I remember to be a nice truck for the time, maybe a mid-1980s GMC Silverado. I cranked up the engine; put it into drive (too bad it wasn't a standard [de cambios] - it would have saved Hugo some money and me some embarrassment); and "¡dale gas!" We were cruising in Tamaulipas.
Everything seemed to be fine on the nice, empty back road, but that only lasted for about thirty seconds. Soon enough, we hit a busy intersection and the lines in the streets started getting blurred to every one around me; it seemed that I was the only driver who knew they existed.
My head began to spin as cars, buses, and combis weaved and bobbed around me, paying no attention to the rules of the road (¡ay México!) In and out, in and around, in and out, honks and stares . . . I blanked in the middle of it all as soon as this white combi taxi raced around me and began to slow down all of a sudden in order not to hit a large bus. I really panicked and didn't know what to do even though Hugo was telling me very clearly to slow down and veer to the left, but like a tracker beam, I was locked-in, destined to hit it.
A combi serves as a small bus, but it's not even a bus (check out above); it's more like a crappy van with a million people hanging out the sides, really safe and effect means to get around the city. Ultimately, they served as an annoyance for drivers like me. Now, I didn't plow into the combi, but I scrapped it as we flew down the road side by side trying to avoid hitting a very large bus.
Immediately, Hugo calmly asked me to pull over, and I felt so ashamed. I could hardly look at him, but he was completely cool. We got out and took a look at the damage, and he wasn't even bother by the serious dent and paint peeling I had just added to the front of his truck. I couldn't believe it.
I'll be forever indebted to Hugo's coolness, and I'll never drive in México again.
Sunday, June 29, 2008
Summer Update 2
It's been about a month since I last posted, and as explained in the previous post, you can understand why I've lagged. First of all, no baby has come yet, but we are anxiously awaiting him, i.e., preparing all the baby stuff and reading books about babies and parenting (Babywise, Parenting by the Book, Pre-parenting, etc.). Interesting stuff is out there-some good and some not so good; to say the least, I've learned a lot, but am I ready to be a Papi? Probably not. I relate it to music (big surprise, eh?) for example: the young musician practices alone at home for days, weeks, months, and when it comes to getting in front of a live audience and his blood starts pumping and adrenaline rushes, usually most of that technique goes out the window and he reverts to raw instinct. Only with tons of hours of both live performances and practices, can that musician really apply all those techniques, but he manages to get through it all with that innate ability and some of the other training that has somehow stuck into his muscles. I have a feeling that some good instinct will kick-in once parenthood begins for me, and hopefully, I can apply some of that technique I've learned.
I wonder if this guy (Juan Serrano) ever experienced what I'm talking about:
He might be an exception to the rule.
Anyways, I'll just have to stop and see.
I wonder if this guy (Juan Serrano) ever experienced what I'm talking about:
He might be an exception to the rule.
Anyways, I'll just have to stop and see.
Monday, May 26, 2008
Summer Update
Hello, everyone! Life has been moving very fast lately, and I've been trying to catch up. From the imminent birth of my son to a relocation endeavor (and not to mention writing a new album), I've been too busy to post any bass lessons or post anything for that matter. Thanks for your patience as I get other things situated. In the meantime, I hope you have enjoyed some of the vlogs that Mute Math has posted on our myspace page and on youtube. Here they are below just in case you haven't seen them:
Happy summer days!
Happy summer days!
Thursday, April 03, 2008
Obsolete, Gestation & Bass Player Magazine
It's been amazing being off the road. I don't even know where to begin. A lot has happen and I have a lot to share:
First and most important, I think it's about time that I announced to the world that Wendy and I will be having our first baby this late July! The world will soon feel the force who is to be Rocco Mateo Mitchell-Rivera. I've already started reading to him, playing music for him (nothing too crazy yet - just a lot of Francois Rabbath and Debussy). While on this last tour, I got a lot of advice from musician dads, namely Alanis' drummer Victor Indrizzo (father of three, one of the best drummers around and a real gentle spirit), and he told me to "get some sleep because you're going to need it." I'm encouraged by all these guys to see that they are out there working and making their family life happen. It's no picnic sometimes, but overall, I get a lot of the same sayings:
"I know a lot dads who live and work at 'home' and they never see their kids.'"
"At least when I'm home, I'm home."
Etc. Etc.
Only time will allow me the opportunity to work out a balance, and I'm up for the challenge and all the beauty that will come from it.
Second, I was recently in Bass Player Magazine. I must admit that I'm pretty stoked about that because I learned a lot from this mag and still check it from time to time. Below is the article (which is also on the web):
Mute Math's Roy Mitchell-Cardenas
By Brian Fox | March, 2008
Mute Math’s heady brew of rock, jazz, and pop has hit the spot among the musician set, and Roy Mitchell-Cardenas deserves some credit: His tuneful electric and upright chops are crisp as pilsner and ballsy as stout. Currently touring with Matchbox Twenty and Alanis Morissette, Roy and the boys create post-rock soundscapes that combine the raw intensity of the Police with Oingo Boingo’s brainy bounce.
How did you get your start in music?
I started out playing drums when I was a kid, and I thought of myself as a drummer for many years, playing in local punk bands and high school jazz band. After a friend gave me an old P-Bass for high-school graduation, I started playing whenever anyone needed a bass. Later, I had some formal training at University of North Texas and at Loyola University in New Orleans.
What carries over from your background as a drummer?
I think all bass players—all musicians, really—should learn drums. It helps you lock in, because you can better understand what a drummer is doing; you can speak the language and use those ideas on bass. All of us in Mute Math were drummers at one point, so we switch instruments onstage.
How did you start playing upright?
I’d always been into jazz and wanted an upright, but they were way too expensive. I grew up on the Texas border, and when I’d walk across to Mexico, I’d see these cheap old uprights. I bought one and took it to North Texas, but people wouldn’t stop laughing! I finally mustered up enough money and bought a ’50s Kay about ten years ago.
What’s your favorite amp for recording?
I’ve used Ampeg SVTs, but we got the best bass sounds using guitar amps. I used an old ’60s Maverick guitar amp, and for my own home recordings, I use a Fender Concert combo with four 10s. The grit and energy you can get from guitar amps seems to translate well on record. Live, I use a Mesa/Boogie 400+ head with a 4x12 cabinet. It’s somewhat like a guitar amp—I can turn up the gain to get some grit, and the 12s break up in a nice way.
What about basses?
I play mainly a ’78 P-Bass, and I also tour and record with the Kay. A New Orleans luthier named Sal helped me rig a P-Bass pickup at the end of the upright’s fingerboard, which really helps me get my live upright sound.
On the band’s live DVD, you play a fretless ’70s P-Bass with a maple fingerboard.
That’s a cool bass, but it was really just a substitute for the upright, which we couldn’t take on that tour. The Kay is the sound on the record, and live, it’s also more interesting visually.
You sometimes play with delay, which isn’t a very common effect for bass. How do you use it?
When you’re playing a kind of modal groove, the bass can start to sound chordal as notes start layering on top of one another. The trick is to not set the feedback too long.
What are you doing besides touring and recording?
On tour I get a lot of questions about bass, so I started my own blog [roymitchellcardenas.blogspot.com] with videos and lessons. That’s been fun, and it’s gotten a good response. Most of the posts come from fans asking questions. One guy asked me if our song “Obsolete” was in Dorian mode, so I made a video explaining how it was.
CAN BE HEARD ON
Mute Math, Mute Math [Teleprompt/Warner Bros., 2006]
Mute Math, Flesh & Bone Electric Fun (DVD), [Warner Bros., 2007]
CURRENTLY SPINNING
Radiohead, In Rainbows [ATO, 2008]
“I love the tastefulness of Colin Greenwood’s bass playing—his note selection, and where he chooses to play. It’s very inventive.”
GEAR
Basses ’78 Fender Precision Bass; ’50s Kay upright with D’Addario Helicore strings; fretless ’70s Fender Precision Bass
Rig Mesa/Boogie 400+ head with Mesa 4x12 cabinets; vintage Maverick and Fender Concert guitar amps
Effects Boss DD-5 Digital Delay pedal
“On the record I used a ’73 Fender Telecaster Bass, which is really woofy and boomy. The sound is so sub-y it’s almost synth-like. But it sounds too muddy to play live.”
Okay, there is a bit in here that may be construed as me having made a video for "Obsolete," which was not true until now. Check out the videos below:
Finally, I would like to pay my respects to the late, great Israel "Cachao" López (a monumental bassist/composer/musician/icon) who has greatly influenced me and countless others beyond comprehension.
Gracias Maestro Cachao por todas las inspiraciones que me haz dado. ¡Vivirás por siempre en mi corazón!
First and most important, I think it's about time that I announced to the world that Wendy and I will be having our first baby this late July! The world will soon feel the force who is to be Rocco Mateo Mitchell-Rivera. I've already started reading to him, playing music for him (nothing too crazy yet - just a lot of Francois Rabbath and Debussy). While on this last tour, I got a lot of advice from musician dads, namely Alanis' drummer Victor Indrizzo (father of three, one of the best drummers around and a real gentle spirit), and he told me to "get some sleep because you're going to need it." I'm encouraged by all these guys to see that they are out there working and making their family life happen. It's no picnic sometimes, but overall, I get a lot of the same sayings:
"I know a lot dads who live and work at 'home' and they never see their kids.'"
"At least when I'm home, I'm home."
Etc. Etc.
Only time will allow me the opportunity to work out a balance, and I'm up for the challenge and all the beauty that will come from it.
Second, I was recently in Bass Player Magazine. I must admit that I'm pretty stoked about that because I learned a lot from this mag and still check it from time to time. Below is the article (which is also on the web):
Mute Math's Roy Mitchell-Cardenas
By Brian Fox | March, 2008
Mute Math’s heady brew of rock, jazz, and pop has hit the spot among the musician set, and Roy Mitchell-Cardenas deserves some credit: His tuneful electric and upright chops are crisp as pilsner and ballsy as stout. Currently touring with Matchbox Twenty and Alanis Morissette, Roy and the boys create post-rock soundscapes that combine the raw intensity of the Police with Oingo Boingo’s brainy bounce.
How did you get your start in music?
I started out playing drums when I was a kid, and I thought of myself as a drummer for many years, playing in local punk bands and high school jazz band. After a friend gave me an old P-Bass for high-school graduation, I started playing whenever anyone needed a bass. Later, I had some formal training at University of North Texas and at Loyola University in New Orleans.
What carries over from your background as a drummer?
I think all bass players—all musicians, really—should learn drums. It helps you lock in, because you can better understand what a drummer is doing; you can speak the language and use those ideas on bass. All of us in Mute Math were drummers at one point, so we switch instruments onstage.
How did you start playing upright?
I’d always been into jazz and wanted an upright, but they were way too expensive. I grew up on the Texas border, and when I’d walk across to Mexico, I’d see these cheap old uprights. I bought one and took it to North Texas, but people wouldn’t stop laughing! I finally mustered up enough money and bought a ’50s Kay about ten years ago.
What’s your favorite amp for recording?
I’ve used Ampeg SVTs, but we got the best bass sounds using guitar amps. I used an old ’60s Maverick guitar amp, and for my own home recordings, I use a Fender Concert combo with four 10s. The grit and energy you can get from guitar amps seems to translate well on record. Live, I use a Mesa/Boogie 400+ head with a 4x12 cabinet. It’s somewhat like a guitar amp—I can turn up the gain to get some grit, and the 12s break up in a nice way.
What about basses?
I play mainly a ’78 P-Bass, and I also tour and record with the Kay. A New Orleans luthier named Sal helped me rig a P-Bass pickup at the end of the upright’s fingerboard, which really helps me get my live upright sound.
On the band’s live DVD, you play a fretless ’70s P-Bass with a maple fingerboard.
That’s a cool bass, but it was really just a substitute for the upright, which we couldn’t take on that tour. The Kay is the sound on the record, and live, it’s also more interesting visually.
You sometimes play with delay, which isn’t a very common effect for bass. How do you use it?
When you’re playing a kind of modal groove, the bass can start to sound chordal as notes start layering on top of one another. The trick is to not set the feedback too long.
What are you doing besides touring and recording?
On tour I get a lot of questions about bass, so I started my own blog [roymitchellcardenas.blogspot.com] with videos and lessons. That’s been fun, and it’s gotten a good response. Most of the posts come from fans asking questions. One guy asked me if our song “Obsolete” was in Dorian mode, so I made a video explaining how it was.
CAN BE HEARD ON
Mute Math, Mute Math [Teleprompt/Warner Bros., 2006]
Mute Math, Flesh & Bone Electric Fun (DVD), [Warner Bros., 2007]
CURRENTLY SPINNING
Radiohead, In Rainbows [ATO, 2008]
“I love the tastefulness of Colin Greenwood’s bass playing—his note selection, and where he chooses to play. It’s very inventive.”
GEAR
Basses ’78 Fender Precision Bass; ’50s Kay upright with D’Addario Helicore strings; fretless ’70s Fender Precision Bass
Rig Mesa/Boogie 400+ head with Mesa 4x12 cabinets; vintage Maverick and Fender Concert guitar amps
Effects Boss DD-5 Digital Delay pedal
“On the record I used a ’73 Fender Telecaster Bass, which is really woofy and boomy. The sound is so sub-y it’s almost synth-like. But it sounds too muddy to play live.”
Okay, there is a bit in here that may be construed as me having made a video for "Obsolete," which was not true until now. Check out the videos below:
Finally, I would like to pay my respects to the late, great Israel "Cachao" López (a monumental bassist/composer/musician/icon) who has greatly influenced me and countless others beyond comprehension.
Gracias Maestro Cachao por todas las inspiraciones que me haz dado. ¡Vivirás por siempre en mi corazón!
Tuesday, February 19, 2008
2.5.08 - 2.18.08: Grammy's onward
It's difficult to write these "post-posts," going backwards in time, trying to remember all that happen. So, why don't you just write them as you go? you ask: well, I abandoned my laptop on this tour in order to have my home/recording computer out with me; at least I have a hand-written diary as reference - good old paper and pen; it will never fail you, never crash, never has to be updated, etc.
Anyway, let's first answer some questions posted some time within the last two weeks:
1. What are you using for a portable recording studio? I use an iMac (3 gigs memory & 500 gigs of storage) with ProTools and the M-Audio NRV10 audio interface.
2. What's your favorite DJ Shadow song? There are so many, but one that sticks out in my mind right now is "What Does Your Soul Look Like (Part 2)" off of Preemptive Strike. I believe it was used for the movie soundtrack Dark Days (a great indy film about homeless life in the abandoned subway tunnels of NYC).
3. If you get some time is it possible to post a video blog and play the bass line of Reset? Yes.
4. Maybe sometime soon you could perhaps (when you get time) put a tips and tricks video up about sampling? Yes, but this will have to wait until after the tour.
5. Is the whole band present when you record? No. Most of the time we work separately and then, share ideas; however, sometimes Paul and I will work on things together, or Paul and DK, or Greg and I, etc. There is no formula.
6. Could get Greg to tab, or record a lesson, for the guitar parts to Typical and Chaos? I'll ask him, but it's highly unlikely to happen any time soon. He doesn't like computers.
02.05.08: Milwaukee, WI: decent show, but nothing memorable to me; at least, I didn't write anything down about it. Oh well, sorry.
02.06.08: Cleveland, OH: day off, somewhat productive day in hotel room.
02.07.08: Cleveland, OH: great show, best of the tour so far. Why? We had a soundcheck, which always helps, and the audience was right there with us, even though the majority of them didn't have a clue who we were.
02.08.08: Fairfax, VA: This show felt like punching in and our on a day's work. I didn't enjoy the venue, disgusting shower.
02.09.08: D.C. to L.A. flying. Fairly easy flight, direct to Los Angeles, just a bit long but I finished reading Animal Farm, which I hadn't read since high school. Most importantly, I was able see my better-half for this weekend, and we had an amazing time.
02.10.08: This was a historic day for us. I've been thoroughly enjoying it with Wendy. It's been kind of like a second, short honeymoon. In the morning, we got all nice and went out to the ceremonies, starting around 12pm. We were the first nomination up, and as they announced everyone's names, it was nice to be mentioned amongst such talented artists. We made the mistake of not heading out to get something to eat after our nomination was over, and sat through the whole thing basically. We should have gone to eat. We ended up not eating for about 12 hours; it was a long day, but memorable.
2.11.08: (from diary) "I will have to first say that this weekend was a historic weekend. It felt a lot like a paid vacation for Wendy and me. Well, we didn't win, and lost to Johnny Cash, but what an honor that was. I saw countless famous people. Where do I begin? Herbie Hancock, Ringo Starr, Dave Stewart, Foo Fighters, B.E.P., Cyndi Lauper, Usher, George Lopez, Kid Rock, Slayer, Seal, Kermit the Frog, etc. Now, when I say I saw them, I was like within feet, sometimes shoulder to shoulder with them. From my seat, I saw a lot of memorable performances: Jerry Lee Lewis, Feist, Beyonce and Tina Turner, Herbie Hancock, etc. I've met more famous people in this year's first month and half than my entire life. Strange."
2.12.08: Syracuse: Spectacular crowd and fun show. Crazy snow coming down!
2.13.08: NYC: After a rough night of travel with snow/freezing rain, etc., we found ourselves in a bus repair shop. Luckily, Dan and I immediately got a cab and made our way into the city. I met my homeboy, Raul Castillo, in Penn Station, and we had a chido day of hanging out in the village and later up at his place in Washington Heights.
2.14.08: Madison Square Garden: Are we here? What are we doing here? Very interesting day, the best part was being reunited with the love of my life, and exploring the city a bit. The disappointing part was that the Garden is actually the ugliest venue we've played on this tour. It's historic and amazing to be there as a part of this long, crazy tradition, but wow, it could use a face-lift back stage. It was also Rob's birthday; so, we hung out at his party after the show; it was fun.
2.15.08: Niagara: day off. cold outside, so we sat in a hotel room all day and ordered in.
2.16.08: Seneca Casino: Little room, but it was a nice change. It felt a little more concentrated energy wise.
2.17.08: off day near Hartford, CT. I did laundry and slept a lot.
2.18.08: Uncasville, CT. One of the coolest casinos on the tour; too bad my better-half left this day. What have I learned on this tour so far? A venue is like a box of chocolates. You never know what you're going to get.
Anyway, let's first answer some questions posted some time within the last two weeks:
1. What are you using for a portable recording studio? I use an iMac (3 gigs memory & 500 gigs of storage) with ProTools and the M-Audio NRV10 audio interface.
2. What's your favorite DJ Shadow song? There are so many, but one that sticks out in my mind right now is "What Does Your Soul Look Like (Part 2)" off of Preemptive Strike. I believe it was used for the movie soundtrack Dark Days (a great indy film about homeless life in the abandoned subway tunnels of NYC).
3. If you get some time is it possible to post a video blog and play the bass line of Reset? Yes.
4. Maybe sometime soon you could perhaps (when you get time) put a tips and tricks video up about sampling? Yes, but this will have to wait until after the tour.
5. Is the whole band present when you record? No. Most of the time we work separately and then, share ideas; however, sometimes Paul and I will work on things together, or Paul and DK, or Greg and I, etc. There is no formula.
6. Could get Greg to tab, or record a lesson, for the guitar parts to Typical and Chaos? I'll ask him, but it's highly unlikely to happen any time soon. He doesn't like computers.
02.05.08: Milwaukee, WI: decent show, but nothing memorable to me; at least, I didn't write anything down about it. Oh well, sorry.
02.06.08: Cleveland, OH: day off, somewhat productive day in hotel room.
02.07.08: Cleveland, OH: great show, best of the tour so far. Why? We had a soundcheck, which always helps, and the audience was right there with us, even though the majority of them didn't have a clue who we were.
02.08.08: Fairfax, VA: This show felt like punching in and our on a day's work. I didn't enjoy the venue, disgusting shower.
02.09.08: D.C. to L.A. flying. Fairly easy flight, direct to Los Angeles, just a bit long but I finished reading Animal Farm, which I hadn't read since high school. Most importantly, I was able see my better-half for this weekend, and we had an amazing time.
02.10.08: This was a historic day for us. I've been thoroughly enjoying it with Wendy. It's been kind of like a second, short honeymoon. In the morning, we got all nice and went out to the ceremonies, starting around 12pm. We were the first nomination up, and as they announced everyone's names, it was nice to be mentioned amongst such talented artists. We made the mistake of not heading out to get something to eat after our nomination was over, and sat through the whole thing basically. We should have gone to eat. We ended up not eating for about 12 hours; it was a long day, but memorable.
2.11.08: (from diary) "I will have to first say that this weekend was a historic weekend. It felt a lot like a paid vacation for Wendy and me. Well, we didn't win, and lost to Johnny Cash, but what an honor that was. I saw countless famous people. Where do I begin? Herbie Hancock, Ringo Starr, Dave Stewart, Foo Fighters, B.E.P., Cyndi Lauper, Usher, George Lopez, Kid Rock, Slayer, Seal, Kermit the Frog, etc. Now, when I say I saw them, I was like within feet, sometimes shoulder to shoulder with them. From my seat, I saw a lot of memorable performances: Jerry Lee Lewis, Feist, Beyonce and Tina Turner, Herbie Hancock, etc. I've met more famous people in this year's first month and half than my entire life. Strange."
2.12.08: Syracuse: Spectacular crowd and fun show. Crazy snow coming down!
2.13.08: NYC: After a rough night of travel with snow/freezing rain, etc., we found ourselves in a bus repair shop. Luckily, Dan and I immediately got a cab and made our way into the city. I met my homeboy, Raul Castillo, in Penn Station, and we had a chido day of hanging out in the village and later up at his place in Washington Heights.
2.14.08: Madison Square Garden: Are we here? What are we doing here? Very interesting day, the best part was being reunited with the love of my life, and exploring the city a bit. The disappointing part was that the Garden is actually the ugliest venue we've played on this tour. It's historic and amazing to be there as a part of this long, crazy tradition, but wow, it could use a face-lift back stage. It was also Rob's birthday; so, we hung out at his party after the show; it was fun.
2.15.08: Niagara: day off. cold outside, so we sat in a hotel room all day and ordered in.
2.16.08: Seneca Casino: Little room, but it was a nice change. It felt a little more concentrated energy wise.
2.17.08: off day near Hartford, CT. I did laundry and slept a lot.
2.18.08: Uncasville, CT. One of the coolest casinos on the tour; too bad my better-half left this day. What have I learned on this tour so far? A venue is like a box of chocolates. You never know what you're going to get.
Tuesday, February 05, 2008
2.1.08 -2.4.08: Chicago to St. Paul
2.1.08: Chicago: Sears Centre: I brought out my skateboard, not so much to skate but to cart stuff around; however, I couldn't resist to get on the board to see if I could pull off any tricks, but I quickly learned that melted snow and skating don't mix. I slipped off in no time, landing straight on my bum. Anyway, I think I'll stick to using it to wheel my mini-studio around; we don't want any broken wrists on this tour. So long are my skating days. By the way, skateboarding is not a crime.
2.2.08: Detroit: Palace of Auburn Hills: Probably the best crowd of the tour so far. We had them on their feet clapping and shouting by the end of "Break the Same." It's a good feeling when we are able to connect with people that have no clue who we are. We've been going out after Alanis' set to talk with people and meet new faces. It's been fun and interesting to connect with these new fans. We also had the coolest dressing room ever in the history of MM: from hot sauna to whirlpool, it was insane. Thanks Pistons. If that wasn't enough, the guys hung out with Alanis a bit (I unfortunately was busy and didn't know about until it was too late), and later that night, MB20 invited us to their dressing room to hang out; they are truly down to earth, genuine guys, and we had a great time with them.
2.3.08: Superbowl: Thank God NY won.
2.4.08: St. Paul, MN: Xcel Energy Center: This was a historic day for me and MM. Why? Well, after the show (which was a little strange from the stage perspective, but later seemed very nice when we talked to fans out near the merch), we headed out to 1st Ave and watched DJ Shadow and Cut Chemist live. If that wasn't enough, Steve (our FOH engineer and mate of Shadow) got us back stage to meet the two maestros. DJ Shadow has been a huge influence on MM. He is one of our heroes. I learned how to sample and program by listening to his records. To this day, I listen to much of his work to gain perspective and compare his stuff against my tracks; that is, I want my stuff to sound as close as possible to his; well, that is the lofty goal at least. So, needless to say, we were in awe. Unfortunately, we didn't get a picture, but this encounter will always last in my mind. This memory is engraved. What a beautiful surprise and wonderful day this was.
2.2.08: Detroit: Palace of Auburn Hills: Probably the best crowd of the tour so far. We had them on their feet clapping and shouting by the end of "Break the Same." It's a good feeling when we are able to connect with people that have no clue who we are. We've been going out after Alanis' set to talk with people and meet new faces. It's been fun and interesting to connect with these new fans. We also had the coolest dressing room ever in the history of MM: from hot sauna to whirlpool, it was insane. Thanks Pistons. If that wasn't enough, the guys hung out with Alanis a bit (I unfortunately was busy and didn't know about until it was too late), and later that night, MB20 invited us to their dressing room to hang out; they are truly down to earth, genuine guys, and we had a great time with them.
2.3.08: Superbowl: Thank God NY won.
2.4.08: St. Paul, MN: Xcel Energy Center: This was a historic day for me and MM. Why? Well, after the show (which was a little strange from the stage perspective, but later seemed very nice when we talked to fans out near the merch), we headed out to 1st Ave and watched DJ Shadow and Cut Chemist live. If that wasn't enough, Steve (our FOH engineer and mate of Shadow) got us back stage to meet the two maestros. DJ Shadow has been a huge influence on MM. He is one of our heroes. I learned how to sample and program by listening to his records. To this day, I listen to much of his work to gain perspective and compare his stuff against my tracks; that is, I want my stuff to sound as close as possible to his; well, that is the lofty goal at least. So, needless to say, we were in awe. Unfortunately, we didn't get a picture, but this encounter will always last in my mind. This memory is engraved. What a beautiful surprise and wonderful day this was.
Sunday, February 03, 2008
1.29.08: Charlotte, NC: Cricket Arena
I remember playing at this venue a long time ago with Earthsuit; it was for some outreach/gathering thing with Grits. Anyway, it sounded washy back then and still sounds washy today. The sound just bounces everywhere out of control, no definition, especially in the low end. Nevertheless, we had a great time because the crowd was probably the hypest of the tour to-date; I felt we had a lot of fans there; I heard people shouting our name. Anyway, we are still not getting a soundcheck, and it's a lot of last minute getting up there after doors are open and doing our best to make the most of the opportunity. In spite of this, I've had a great time on this tour; the MB20 guys are really cool. After every show, I see Rob on the side of the stage; he watches us everyday. I think little by little we are growing in our "arena playing" chops. Maybe, one day soon will be headlining these places ourselves; who knows?
Monday, January 28, 2008
1.28.08: Atlanta, GA: Phillips Arena & "Chaos" Bass Lesson
Yesterday, I spent all day working on a new track in a hotel room overlooking downtown Atlanta. It was a lonely day, but one well spent. I don't have much to write about, but I will leave you with two videos:
Here's a bass lesson of "Chaos" - I had fun making this.
And, here's a short clip of the Tampa show -
Here's a bass lesson of "Chaos" - I had fun making this.
And, here's a short clip of the Tampa show -
Saturday, January 26, 2008
1.26.08: Tampa, FL: St. Pete Times Forum
Yesterday, I met a security guard outside our dressing room. He was just sitting there, calm and meditative. He was an old man with dark, spotted skin and thin gray hair; he was wearing a red Hard Rock jacket, and looking down at a book from time to time after gazing into an empty hall. His book was on Rafael Alberti (a Spanish poet of the "generation of '27.") Next to his book was a pamphlet on the rosary, and next to that, a picture of Fidel Castro.
I approached him and asked how he was. He was soft spoken and kind. In no time, we were talking about his homeland of Spain, the greatness of Rafael Alberti, Castro and Cubans, the poor and illiterate, socialism, and high taxes in Florida. Wow! what a change from the usual mindless security guards in clubs, but then, again, this wasn't a club venue, and Reynaldo wasn't your average security guard. Thankfully.
After the show (which went relatively well considering we started at 6:30pm and a lot of people hadn't yet arrived), we were able to talk a bit with Rob Thomas, Paul Doucette, Ryan MacMilliam (the new drummer), Matt Beck (hired extra aux player), Cedric (Alanis' bassist), and various others whose names I haven't quite mastered yet. The point being that we were able to meet a lot of great people, all very nice and complimentary, and it's confirmed to me that this tour will continue to be amazing.
Apart from the show, we've brought a mini-studio on the road and have been continuing to write and develop the songs for the new record. This I am most excited about, and can't wait to play these new ideas live. Hopefully, I'll get some time to take some pictures and videos soon.
I approached him and asked how he was. He was soft spoken and kind. In no time, we were talking about his homeland of Spain, the greatness of Rafael Alberti, Castro and Cubans, the poor and illiterate, socialism, and high taxes in Florida. Wow! what a change from the usual mindless security guards in clubs, but then, again, this wasn't a club venue, and Reynaldo wasn't your average security guard. Thankfully.
After the show (which went relatively well considering we started at 6:30pm and a lot of people hadn't yet arrived), we were able to talk a bit with Rob Thomas, Paul Doucette, Ryan MacMilliam (the new drummer), Matt Beck (hired extra aux player), Cedric (Alanis' bassist), and various others whose names I haven't quite mastered yet. The point being that we were able to meet a lot of great people, all very nice and complimentary, and it's confirmed to me that this tour will continue to be amazing.
Apart from the show, we've brought a mini-studio on the road and have been continuing to write and develop the songs for the new record. This I am most excited about, and can't wait to play these new ideas live. Hopefully, I'll get some time to take some pictures and videos soon.
Friday, January 25, 2008
1.25.08: Ft. Lauderdale, FL: Hard Rock Casino
First of all, let me say a big thank you to all who complimented my last blog lesson of "Control." I'm glad you dug it. I will post another of "Chaos" very soon, but first there are some questions posted by Jess and Kev that I'd like to quickly answer:
1. Does Mute Math play with a Click track for the whole show?
Yes, except for "Peculiar People."
2. On Reset, during the drum / sampler break right after you hit that delayed out note, is there some sort of count?
Yes, there is always a count going on; however, that part gets a little tricky. DK cues Greg to start a sample with a "one, two" but after a while we just feel it.
3. How does everyone stay locked in through that part? ...???
Practice.
4. When you joined mutemath did you change this bass part up at all, or is this the same part we'll find on the ep?
Yes. Paul is a great writer of bass parts, as is DK ("Reset"), and I've learned a lot from the two of them. Over time, I change the part a bit to be more my thing which was recorded for the debut album; it was changes mainly of transitional fills and inflections.
On with the tour notes: The Matchbox guys have been extremely nice . . . let me repeat that: extremely nice. Last night, MB20 played a sort of rehearsal concert for friends and family, and Rob Thomas said some incredible things from stage, like how stoked they were to watch us night after night. We are really humbled to be here and happy to get the opportunity to play to a lot of new people. I think this is going to be an amazing tour for us, and I'm looking forward to every minute of it.
This morning, we went out to West Palm Beach to play a short acoustic set for 103.1 The Buzz, and it went well. It was a bit of a revamp of the acoustic thing, where Greg is playing mandolin, Paul and I play acoustic guitar, and DK plays a cajón, which is a percussion box used a lot in flamenco music. I must admit, it makes me proud that he is playing un cajón, just so I can have an excuse to practice saying another Spanish word through out the day. The whole trip to the station was a bit rushed because we had to split to get back to the venue, which by the way, is really cool, but it was well worth it.
Anyway, I plan to post some more things later after the show. Thanks for reading.
1. Does Mute Math play with a Click track for the whole show?
Yes, except for "Peculiar People."
2. On Reset, during the drum / sampler break right after you hit that delayed out note, is there some sort of count?
Yes, there is always a count going on; however, that part gets a little tricky. DK cues Greg to start a sample with a "one, two" but after a while we just feel it.
3. How does everyone stay locked in through that part? ...???
Practice.
4. When you joined mutemath did you change this bass part up at all, or is this the same part we'll find on the ep?
Yes. Paul is a great writer of bass parts, as is DK ("Reset"), and I've learned a lot from the two of them. Over time, I change the part a bit to be more my thing which was recorded for the debut album; it was changes mainly of transitional fills and inflections.
On with the tour notes: The Matchbox guys have been extremely nice . . . let me repeat that: extremely nice. Last night, MB20 played a sort of rehearsal concert for friends and family, and Rob Thomas said some incredible things from stage, like how stoked they were to watch us night after night. We are really humbled to be here and happy to get the opportunity to play to a lot of new people. I think this is going to be an amazing tour for us, and I'm looking forward to every minute of it.
This morning, we went out to West Palm Beach to play a short acoustic set for 103.1 The Buzz, and it went well. It was a bit of a revamp of the acoustic thing, where Greg is playing mandolin, Paul and I play acoustic guitar, and DK plays a cajón, which is a percussion box used a lot in flamenco music. I must admit, it makes me proud that he is playing un cajón, just so I can have an excuse to practice saying another Spanish word through out the day. The whole trip to the station was a bit rushed because we had to split to get back to the venue, which by the way, is really cool, but it was well worth it.
Anyway, I plan to post some more things later after the show. Thanks for reading.
Tuesday, January 15, 2008
Just in case you're going to my hometown area . . .
Security Information from the Police Department regarding the events occurred at Rio Bravo and Reynosa during this week where the Police and the Mexican Army have been confronting a Criminal group. There have been several shootouts around the city and some people have been killed and several of them were arrested. Based on the police reports and the media this kind of events could continue happening in Reynosa and Rio Bravo as the criminal groups continue fighting against the Federal Police in several places around the city. It is important to clarify that the Civil population is NOT the target of these armed groups during shootouts.
In case you are stopped by the Police (AFI, PFP) or the Army in a check point please act as follows:
1. Slow down your vehicle speed.
2. Turn your vehicle flash lights on to let them know that you are obeying the order to stop.
3. At night turn your vehicle interior lights on and put your hands on the steering wheel.
4. Do not carry unnecessary stuff in your car to speed up the inspection.
5. Please be collaborative at any moment and remain calm.
6. Avoid driving at high speed if Police or the Army are close to you.
7. Always have an ID with you.
8. Avoid driving on the main streets during the worst traffic hours.
In case you are close to a shootout....
- Lay on the ground and cover your head with both hands.
- If you are in a car, stay there....lay on the ground and protect children if you are traveling with them. DO NOT go out of the vehicle and run, you could be considered a criminal that is running away.
- Avoid any potential risk and if is possible do not go out at night.
- We hope this situation will be resolved soon but in the meantime be alert and informed at any time.
- Please share this information as appropriate.
In case you are stopped by the Police (AFI, PFP) or the Army in a check point please act as follows:
1. Slow down your vehicle speed.
2. Turn your vehicle flash lights on to let them know that you are obeying the order to stop.
3. At night turn your vehicle interior lights on and put your hands on the steering wheel.
4. Do not carry unnecessary stuff in your car to speed up the inspection.
5. Please be collaborative at any moment and remain calm.
6. Avoid driving at high speed if Police or the Army are close to you.
7. Always have an ID with you.
8. Avoid driving on the main streets during the worst traffic hours.
In case you are close to a shootout....
- Lay on the ground and cover your head with both hands.
- If you are in a car, stay there....lay on the ground and protect children if you are traveling with them. DO NOT go out of the vehicle and run, you could be considered a criminal that is running away.
- Avoid any potential risk and if is possible do not go out at night.
- We hope this situation will be resolved soon but in the meantime be alert and informed at any time.
- Please share this information as appropriate.
Sunday, January 13, 2008
1.13.08: Where am I?
Wow, where am I? I'm in one place, a place called "love-being-home-ville," la ciudad de paz, la zona de amor, c'est fantastique! Forgive me for checking out of bloggerville for about a month. Did you miss me? I needed a break, but I have been keeping a diary, which I will share some of it with you.
The public world of Mute Math, which is mostly all of that world, has cracked open again: one, with a call for people to be involved in the shooting our new video for "Control;" two, the new tour with Matchbox 20 and Alanis Morissette will soon get underway; and three, the many new ideas for songs and the process of compiling and editing all this ideas into one solid, cohesive collection has begun. I have some video of the session which I will soon share, but I need to edit it.
Thanks for your patience in all of this.
Now, concerning the bass lessons. I just didn't have enough time this season of home dwelling: let's see-new Mute Math album or bass lesson videos? I had to opt for the first. However, please do not give up hope! I'm positive that these things will sprout along the way of convenience.
Gracias@home.com . . . happy new year.com
The public world of Mute Math, which is mostly all of that world, has cracked open again: one, with a call for people to be involved in the shooting our new video for "Control;" two, the new tour with Matchbox 20 and Alanis Morissette will soon get underway; and three, the many new ideas for songs and the process of compiling and editing all this ideas into one solid, cohesive collection has begun. I have some video of the session which I will soon share, but I need to edit it.
Thanks for your patience in all of this.
Now, concerning the bass lessons. I just didn't have enough time this season of home dwelling: let's see-new Mute Math album or bass lesson videos? I had to opt for the first. However, please do not give up hope! I'm positive that these things will sprout along the way of convenience.
Gracias@home.com . . . happy new year.com
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Vintage cab used on MM debut (two 15" Jensen speakers).
