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All notes, lyrics, etc. are copyrighted by their respective owners; reprinted here with permission.
1) Solar Eclipse (Steven Dillon) - [disc 1, track 12]
 | Guitar: Huss & Dalton Custom CM |
| Strings: John Pearse 600L (phosphor bronze lights) |
| Tuning: DGDFAC |
| Sonic capture devices: Shure SM-58 on the amp, a pair of Shure SM-81 mics (X-Y) on the guitar, and the amp's "Effects Out" direct to the board. |
| Sonic recording devices: Alesis ADAT |
| Amplification: Fender Acoustasonic Jr. |
This song was written during the last solar eclipse of the millennium. I remember the reports of fear and panic the eclipse caused; it was said to be the final warning and signal the end of the world. In fact, the song was originally entitled "T.E.O.T.W.A.W.K.I." pronounced "teo-twacky" (The End Of The World As We Know It). For me, the song signals the end of my first CD and the beginning of my life as a musician. The song was recorded in one take with no studio tricks (cutting, splicing, etc.).
2) Best of Both Worlds (Steven Dillon) - [disc 5, track 2]
| Guitar: Guild F65CE (Rhode Island) |
| Strings: John Pearse 600L (phosphor bronze lights) |
| Tuning: CGDGBD |
| Sonic capture devices: Shure SM-58 on the amp, a pair of Shure SM-81 mics (X-Y) on the guitar, and the amp's "Effects Out" direct to the board. |
| Sonic recording devices: Alesis ADAT |
| Amplification: Fender Acoustasonic Jr. |
This song is an attempt to combine a little of my rock-n-roll roots with my fingerstyle techniques -- to get the best of both worlds. I used the thumbpick to strum the guitar and get a more crunchy sound (by dampening the strings) while at the same time using my fingers in a more traditional manner. It's the most progressive acoustic tune on my debut CD and a precursor of songs to come. This song is the last song I was able to squeeze out of this particular guitar before it died. The song was recorded in one take with no studio tricks (cutting, splicing, etc.).
1) Leggato (Geoff Duncan and Adrian Legg) - [disc 2, track 14]
| Guitar: Martin 000-15S (12-fret) |
| Strings: Probably John Pearse phosphor bronze bluegrass (.12 - .56) |
| Tuning: Standard, capo V |
| Sonic capture: Two Neumann KM-184 mics |
| Recorded live to hard disk (no edits) |
While sick with pneumonia a couple years ago, I spent some of the downtime working on "banjo-roll" exercises, using "Cradle Songs" off of Adrian Legg's Fingers & Thumbs album as one starting point. Eventually, "Leggato" emerged as a coherent piece, although one of the chord progressions is a quote from "Cradle Songs."
Fast-forward 18 months to a session for a small film soundtrack, where I play "Leggato" as a level check for the engineer and warm-up for a small solo guitar bit. The recording is messy and uneven, but it's live with no edits (and that's real reverb from the chapel where we were recording: not an effect!).
I ran the piece by Adrian, who suggested listing it as a co-write would be a good way to go, and later an abbreviated version was optioned by a television show. So: the lesson is to get pneumonia more often!
2) For Ted's Twenty-Fifth (Geoff Duncan) - [disc 6, track 17]
| Guitar: Martin 000-15S (12-fret) |
| Strings: Well-broken-in John Pearse phosphor bronze bluegrass (.12 - .56) |
| Tuning: Standard |
| Sonic capture: L. R. Baggs Dual Source pickup/internal mic |
| Recorded live through a preamp to a MOTU 828 digital audio interface. |
Ted had a gruff exterior: demanding, irascible, short-tempered -- even greasy -- but he was also ruggedly handsome and had a bit of royalty about his bearing. Ted took no gruff, and though he might share his home and his time, he didn't leave any doubt as to who was in charge. Ted was the best: he loved to travel, was fiercely loyal to his family, was an unlikely connoisseur (even when he was down to a few teeth), and brought warmth and happiness to everyone he befriended. Ted was the exception to nearly every rule: a tough guy with a genuine heart of gold.
Ted died in September 2002, after twenty-five good years. Pretty astonishing for a cat.
Geoff Duncan is a sometime-session musician in the Seattle area. On the Internet, he's probably best known as Technical Editor of TidBITS, a longstanding free newsletter covering the Macintosh and Macintosh Internet communities.
E-mail: gd-rmmga [at] quibble [dot] com
URL: http://www.quibble.com/geoff/
1) Better Not Try to Stop Her (Michael Dunnigan) - [disc 3, track 26]
| Guitars: Brook Taw (Birdseye maple/Sitka spruce) and an unknown classical salvaged from a pawn shop. |
| Tuning: Standard |
| Other instrumentation: Cellos and intentional percussion by EMU; inadvertent percussive foot-tapping in the (not so distant) background manufactured by O'Neill training shoe (left) on naked floorboard. |
| Sonic capture devices: Rode NT2 and Shure 588SA mics plus Fishman under-saddle active pickup. |
2) The Raggedy March (Michael Dunnigan) - [disc 6, track 8]
| Guitars: Brook Taw (Birdseye maple/Sitka spruce) and Brook Tavy (maple/Sitka spruce) |
| Tuning: Standard |
| Other instrumentation: Double basses and marching snare drums by EMU. |
| Sonic capture devices: Rode NT2 and Shure 588SA mics plus Fishman under-saddle active pickup. |
Vocals and acoustic guitar performed by Alan Dunwell. Copyright © Alan Dunwell.
| Guitar: Dunwell Ponderosa Dreadnought made of Padauk with Sitka spruce top |
| Strings: D'Addario phosphor bronze medium |
| Guitar electronics: Joe Mills internal microphone, MSI Thin film soundboard transducer |
| Initial recording by Pat Tracy: Tascam DA-88, 8-track to Hi-8 tape, mics unknown |
| Final mix and CD by Wind Over The Earth, Justin Konrad |
1) Life On The River (Goes On) (Alan Dunwell) - [disc 1, track 16]
I like, and tend to write, mostly story songs. This song wrote itself. It started with the single line in my head: "He fished those gambling waters..." and just went from there. I claim no responsibility for that little guy that lives in my head and does the writing.
This is in drop-D tuning by capoing all except the low E string at the second fret.
Lyrics for "Life On The River (Goes On)" (Alan Dunwell) [April 25, 1996]:
Jason was a river boat man
Who dressed quite nattily.
He fished those gambling waters
Out of Memphis Tennessee.
Lori was a lady
Of some dubious repute
With diamonds in her garter belt
And a pistol in her boot
The Natchez Queen was a beauty
Pushing through the rain.
One hundred feet of steam power,
She always drew Mark Twain.[Chorus:]
And the sun goes down
The wheels go 'round
Steamships on the Muddy.
Life on the river goes on,
Yeah, river boat life goes on.There was music on the lower deck,
Gambling up above
Dancers down below and
You know where Jason was
Like the poker chips on green felt,
His luck it waxed and waned
It wasn't just the money
But the playing of the gameNow Jason he liked diamonds
And Lori she liked men.
With him it was all the time,
With her just now and then
The word spread to the gambling deck
And into Jason's ear
When Lori, at Baton Rouge,
Stepped on board from the pier.[Chorus]
When he laid eyes on Lori
Hoping she'd lay hands on him
All his thoughts of 'shoulds' and 'oughts'
Went overboard for a swim.
But while the two made google eyes
A skiff pulled up 'long side
The sheriff and two ladies
Joined them for the ride.[Chorus]
It seems that Jason had a wife
In Memphis Tennessee
And he had another in Lousian'
Living in Targee
'Wet hens' just don't cover it
When the ladies found this out
And Jason's goose was over cooked
Of this there was no doubt.The ladies they grabbed Jason
And Lori grabbed the pot.
The sheriff he grabbed Lori
Where he really shouldn't ought.
Lori pulled her pistol
To shoot that sheriff down
When an oaken chair came through the air
And knocked him to the ground.
Jason took to swimming
And Lori took the skiff
They wound up on the Muddy
Both of them adrift.[Chorus]
Now the sheriff swore he'd get them
Swore he'd stretch their necks
But it never seemed to happen
No, they never did connect.
Then Jason lost his lady luck
And Lori's meat ran out
They went into retirement
And drifted to the South.
Now, some say they're in the Quarter
Down in New Orleans
Just livin' on Jambalaya,
Crawdads, and black beans.[Chorus]
And the moral to this story,
Yes the moral to this song
Is one wife should be enough
Help a man get along.
[spoken] No, no, no. That's not it...And the moral to this story,
Yes the moral to this song
Is take love where you find it
And party all night long.
[spoken] No, no, no. That's not it...And the moral to this story,
Yes the moral to this song
Is that I don't have a moral
Cause life just rolls along,
Yeah, river boat life goes on.
Yeah, life on the river goes on.
2) The Desert Wind Breathes Your Name (Alan Dunwell) - [disc 5, track 5]
I frequently go to the desert for the peace it affords away from the daily life routine. It has been a place of solace and an environment that allows me to really think and reflect on the direction that life is taking me. It is also a place of healing and songwriting.
Lyrics for "The Desert Wind Breathes Your Name" (Alan Dunwell) [May 20, 1996]:
I'm riding the desert for no reason at all
Not checking fence or looking for cows
I'm riding the desert for no reason at all
To let the wind blow your memory away.Camping at night on sacred ground
Last cup of coffee before I bed down.
The fire burns low like the coals of my soul
While the desert wind breathes your name.[Bridge]
The stars at night like the stars in my eyes
They're so bright and so far away.
The coyote's call hangs on the wind
And carries your memory away.I'm riding alone, don't want company
No folks around, no one to see
And just when I think that there is no one at all
The desert wind breathes your name.[Bridge]
I'm herding the clouds, riding drag on the wind.
The rocks and the lizards are my only friends.
And just when I think I've forgotten the pain
The desert wind breathes your name.
And just when I think I've forgotten the pain
The desert wind breathes your name.
Alan Dunwell is primarily a guitar/mandolin builder, and only gets to play when time allows. The songwriting side of things is demanding and just make its own time. Primary instrument is guitar, and he is just beginning to learn bluegrass mandolin, with banjo thrown in on occasions when banjos need throwing.
E-mail: alan [at] dunwellguitar [dot] com
URL: http://dunwellguitar.com
Minuet in G (Johann Sebastian Bach) - [disc 2, track 3]
| Guitar: Kinscherff High Noon small jumbo |
| Strings: Newtone Master Class (.012-.052) |
| Sonic capture devices: Beyer M160 mic into Peavey VMP2 preamp Pick-Up The World #27 into PUTW Power Plug |
| Sonic recording devices: Roland VS880-EX digital recorder |
I was doing some mic tests, and I found I really liked the way this piece sounded. I submitted it for this CD because it's an example of material I don't play in actual performances. I also think it's fun to play classical pieces on steel-string guitars.
E-mail: anejr [at] alevans [dot] com
URL: http://www.alevans.com
A Song for James (Adrian Foden) - [disc 2, track 17]
| Guitar: 1985 Italian-made Ovation-alike bowl-back guitar |
| Strings: D'Addario EJ26 custom lights (.011, .015, .022, .032, .042, .052) |
| Tuning: CFCFCF |
| Sonic capture: Built-in undersaddle piezo, to Behringer V-AMP 2 using a Tube preamp modeler |
| Recorded to PC using Sonic Foundry Sound Forge 5.0 software |
My first ever attempt at recording acoustic guitar!
The piece was largely unscripted! The tuning is odd and inspires some unusual flatpicking and melody lines. It's a first-take, one-pass recording. The signal was recorded 'wet' with all processing and EQ courtesy of the V-AMP 2. There's no post-processing or EQ tweaks . . . what you hear is what I played.
Thanks to James Screaton for spurring me on to record something in this oddball tuning on my oddball guitar!
Principally an electric guitar player, I've been inspired by RMMGA to dust off my old acoustic and to rekindle my interest in playing acoustic again . . . Thank you RMMGA!
E-mail: rmmgacd3 [at] adrianfoden.freeserve.co.uk
URL: http://www.adrianfoden.freeserve.co.uk/rmmgacd3/
Telma and Eugene (Jerry Gant) - [disc 3, track 6]
| Guitar: Perretta Cowtown SJ guitar |
| Strings: DR "Rare" phosphor bronze |
| Sonic capture devices: Marshall MXL2000 and Shure SM57 mics. |
| Recording details: Recorded and mixed with Sonar 2.0XL on a McCrain Computer Systems "White Box." Behringer MX8000 mixing board. Mastered with T-RackS24 mastering suite. |
| Recorded at Walrus Sound Productions, Lewisville, Texas. Engineered by Jim McCrain. |
This song was written for a friend who just couldn't stay out of trouble.
Special thanks to Jim McCrain for making me sound like Frank Sinatra instead of Uncle Bubba.
Lookin' for a Southbound (Bill Gardella) - [disc 1, track 8]
| Guitars: Taylor 714ce w/ B-Band UST to A2 preamp; Ovation Custom Legend w/ Optima system. |
| Other instruments: Carvin LB75 bass. |
| Strings: Light-gauge Elixir Nanowebs on both guitars; Ken Smith roundwounds on the bass. |
| Tuning: Standard, with the Taylor capoed at 1st fret and played in G, and the Ovation capoed at 6th fret and played in D. |
| Picks: I used a plastic thumb pick and two brass fingerpicks on the guitar. |
| Sound capturing: Transducers as above. Vocal to Shure beta 58 mic. Preamps as above, DI to recorder. |
| Recorded instruments on Tascam 424 mk II Portastudio. Mastered on computer (recording software: n-Track Studio version 2.2), where vocal was added. I routed the mic through the Tascam and used it as a preamp. I added a small bit of reverb to the vocal, but kept the instruments dry. This being a guitar-focused project, I buried the vocal a tad. |
I've written only a few songs over my 35+ years of playing. There are so many good songs to play, why write bad ones? So my song output is sparse.
I was driving north on Rte 95 back in the days when everyone had a CB radio, and naturally motorists would contact drivers heading in the opposite direction to find out about speed traps, etc. On one occasion I heard a guy heading the same way I was transmit repeatedly that he was "lookin' for a southbound." I thought it was a neat phrase for which to try to come up with a story.
I posted the lyrics on the songwriters' newsgroup a few years back, to favorable comment. I'm lousy when it comes to lyrics, so I figured this was one of my better attempts. It's never gonna top the charts, but I'd be thrilled if someone liked it enough to learn and perform it.
Lyrics for "Lookin' for a Southbound":
Well, I'm lookin' for a southbound on channel nineteen
I need some information what's up ahead for me
Hey southbound driver come on back will you please
You been where I'm goin' so you must have seenHow's the weather up there is the road clear and dry
Where's the chow pretty fair where does Smokey hide
And can you tell me if my baby will come back to my sideI got home this morning I'd been out all night
But the note on the table said that's all right
I can live my life anyway I see fit
But she and our daughter won't be a part of it soHow's the weather up there is the road clear and dry
Where's the chow pretty fair where does Smokey hide
And can you tell me if my baby will come back to my sideShe went up to her mama's on the Long Island shore
Said she'd be very happy never to see me no more soHow's the weather up there is the road clear and dry
Where's the chow pretty fair where does Smokey hide
And can you tell me if my baby
Yeah, tell me if my baby will come back to my sideSo I'm lookin' for a southbound yeah
Come on back Mister Southbound
E-mail: wjg492 [at] cox [dot] net
1) Red House (Jimi Hendrix) - [disc 3, track 18]
| Guitars: Northworthy Ellastone and Larrivee RMMGA Parlour |
I can't take this song seriously as a blues, as it has such a throwaway, optimistic ending, but it's not really about playing the blues, it's about showing off with yer axe, which is of course a blues occupation, like riding trains or shooting people in Memphis.
I cut this on my own using the Larrivee for the rhythm track and the Northworthy Ellastone for the lead part, which (amazingly) is one take. The vocals were created by Bram and Margaret Gay in 1956 and customised with 25 years of beer & fags by me.
1) Something Broken (John Hiatt) - [disc 6, track 2]
| Guitars: Northworthy Ellastone and Larrivee RMMGA Parlour |
Northworthy Ellastone for the fingerpicked basic stuff (me) and Larrivee RMMGA Parlour for the decorative overlay played by Phil Stevenson in his usual impeccably casual style. I did the slide solo with a thin glass slide on the Larrivee. Unfortunately, I am singing -- but then Phil can't sing either so we made the best of a bad job. --Pete
Phil Stevenson also contributed his own song, "From the White Meadow" [disc 3, track 17].
My Old Dad (Ralph Goff) - [disc 1, track 5]
| Guitars: Rhythm - 1963 Gibson SJ (Southern Jumbo) and Taylor 812C (capo at fret 5). Solo - Taylor 812C. |
| Strings: Elixir lights |
| Microphone: Shure KSM-32 for both guitars, the 5-string banjo and vocals |
| Recording device: Mackie 1202 VLZ PRO mixer to Sony MDM-X4 MiniDisc 4-track recorder |
| Mixing: Multiple "songs" were made on the 4-track (using the same rhythm backing) for different instrument and vocal tracks, then transferred to a computer for mixing. N-Track was used for mixing and adding some reverb and EQ. Sound Forge was used to apply compression to the final 2-track stereo mix. The bass guitar is from a MIDI track using a Soundblaster Live card. |
A tribute to my late -- and much admired -- dad, and to all those like him, who didn't make it to the Hall of Fame, but were still mighty fine fathers anyway.
My father passed away March 2000, with Alzheimer's. About a year before that he got to hear a preliminary version of this song. Although he had already started the downhill slide, I think he "got the message" anyway. Hopefully, they are playing this song on the Heavenly radio station (KHVN?) and he enjoys it.
E-mail: rgoff [at] odsys [dot] com
URL: http://www.HogTimeMusic.com
| Guitar: Taylor 335 12-string with a Fishman pickup |
| Recorded direct via Griffin iMic (USB audio interface) to Pro Tools Free on a Macintosh G4 |
1) Lass at Patie's Mill (trad., arr. Val Goodfellow) - [disc 2, track 7]
The story goes that this tune dates from the mid-sixteenth century, and was supposedly composed by David Rizzo who was Mary Queen of Scots' lute teacher, "secretary" and "confidant" and who was ultimately murdered in Holyrood Castle by Mary’s enemies. The words were written years later by Allan Ramsey, a friend of Robert Burns, who was apparently quite inspired by a lass he met while walking near Patie's Mill on the River Irvine in North Ayrshire. I learned the tune long ago and made up the arrangement to sound a bit like Scottish harp music. This summer I made a trip to Ayr: a wonderful place where I thought about this tune often.
2) Wasatch Snow (Val Goodfellow) - [disc 5, track 12]
I wrote this after spending the last few hours of my dad's life in his hospital room in our hometown in Utah as the first big snowstorm of the year spilled down the mountain outside the window and watched it fill the foothills with snow; my dad could not talk, and we watched one last snowstorm together. It has words, but I sing worse than I play.
I live in Encinitas, California; I'm a research scientist for a biopharmaceutical company. I've played the guitar off and on since I was twelve, mostly for my own enjoyment. I like to make up fingerstyle arrangements and make up a few of my own songs each year. I wanted to learn how to record so I could work on sounding better...but these were the first takes I've recorded. I only manage to get about 10 minutes of studio time a month on our family's G4, so these were recorded in one shot.
| Guitar: Takamine CP132S classical/electric |
| Strings: D'Addario new composite hard tension (EJ46C) |
| Tuning: Standard |
| Sonic capture: Shure SM57 mic (no DI used, just mic) and homemade preamp from Craig Anderton's book Electronic Projects For Musicians |
| Recording devices: PC hard drive, Soundblaster Live! sound card and Soundblaster recording software |
| Digital mastering: Dave Daw, Summit Sound Studios, Westport, Ontario, Canada |
1) Dundee, O'Flynn, Etc. (trad., arr. Jim Graham) - [disc 1, track 4]
This is a medley of four Celtic tunes: "Piper O'Dundee," "Father O'Flynn," "Larry O'Gaff" and "Rory O'More" (the "O"s are pure coincidence, really!). I arranged them for guitar from a book of fiddle tunes that was arranged for accordian! (?! seemed like a pretty obvious thing to do at the time). This song is from my latest CD, Dulcet Tones.
2) Morison's March (Jim Graham) - [disc 4, track 17]
Inspired by and in answer to the Celtic fiddle tune "Morison's Jig." Most of this song came to me while on a break at the music school where I teach. This is also from my CD Dulcet Tones.
I teach and perform for a living, and have released three CDs so far. If anyone wants more info on me and my musical adventures, please visit my home page.
E-mail: mezcolanza [at] hotmail [dot] com
URL: http://www.jimgraham.ca
1) Do You Believe in Magic (John Sebastian) - 2:53 - [disc 4, track 3]
| Guitars: Yamaha guitar with maple back and sides and an Engelmann spruce top (painted black); Alvarez Yairi baritone guitar with rosewood back and sides and Sitka top. |
| Guitar strings/tunings: The Yamaha was capoed at the 5th fret while strung and tuned .010 (D) / .016 (B) / .010 (G) / .020 (D) / .034 (A) / .046 (D). The Alvarez Yairi was tuned .014 (D) / .022W (G) / .032 (D) / .046 (G) / .070 (D) / .092 (G). |
| Other instrumentation: G Bass -- a two-string, all-graphite bass with binaural piezo sensors imbedded in individual copper-plated bone saddles. Strung and tuned .096 (D) / .081 (G). |
| Recording info: One pass on each instrument. See "Recording details for both songs" below for more explanation. |
Instruments courtesy of: Paul Simon (the Yamaha guitar), John Sebastian (the Alvarez baritone guitar) and Big Mack (the G Bass). These were in my hands for the purpose of my adding binaural output electronic sensing systems into each of them. The G Bass was a commissioned experiment of my design that can be played on its own or attached to another instrument and played at the same time.
2) Homeward Bound (Paul Simon) - 2:29 - [disc 6, track 9]
| Guitars: Yamaha guitar with maple back and sides and an Engelmann spruce top (painted black); Alvarez Yairi baritone guitar with rosewood back and sides and Sitka top. |
| Guitar strings/tunings: The Yamaha was strung and tuned .010 (D) / .016 (B) / .010 (G) / .020 (D) / .034 (A) / .046 (D). The Alvarez Yairi was strung and tuned .014 (D) / .022W (G) / .032 (D) / .046 (G) / .070 (D) / .092 (G). |
| Other instrumentation: 1923 Gibson A style mando cello with rosewood back and sides and red Sitka carved archtop. Strung and tuned .014 & .014 (D) / .026 & .026 (G) / .020 & .056 (D) / .036 & .072 (G). |
| Recording info: One pass on each instrument. See "Recording details for both songs" below for more explanation. |
Instruments courtesy of: Paul Simon (the Yamaha guitar), John Sebastian (the Alvarez baritone guitar) and Andy Revutsky (the Gibson mando cello). These were in my hands for the purpose of my adding binaural output electronic sensing systems into each of them.
Note that the sustain at the end of "Homeward Bound" is simply just the soul of the mando cello. I had to place my hand on the Gibson's body to stop it from ringing any longer...
As a matter of course, I prefer to "test drive" a "finished" assembly or system at a gig or on a soundstage when it is going to be used in a "pro" environment. The coincidence of my having both the Yamaha and the Alvarez at the same venue was my motivation to try to capture their "mojo," and to pay rightful homage due to the instruments' owners.
All electronic component selections were made in my attempt to capture the authentic individual voice of each instrument. There were no external microphones used and no secondary EQ, reverb or effects added. I used sound-on-sound layering by bouncing from an Otari 50/50 to a Sony DAT and back to the Otari via the Cafe Angelina's FOH Trident mixing console’s bus. The preamps were individually rebuilt. I mixed each pass using in-ear monitors while going for the spontanaity of jamming only with myself. For me, picking up each new instrument and playing along while placing its "voice" in the "right pocket" in mix is not unlike hang gliding or surfing. You gotta let go with the flow.
E-mail: ChamberMuseInk [at] aol [dot] com
1) Monorail Slack Key (Patrick Landeza) - [disc 4, track 14]
| Guitar: McCollum Grand Auditorium (walnut and Italian spruce) |
| Strings: Elixir Nanoweb medium gauge |
| Tuning: Open G (called taro patch by Hawaiian musicians) |
| Recording details: I recorded this piece in my home
studio using a pair of Sound Room Oktava MC012 microphones, an M-Audio DMP-3
preamp, and a Delta 66 sound card in a Dell Optiplex GX150 PC. The software
is Cool Edit Pro 2.0. |
"Monorail Slack Key" was written by my slack key guitar teacher, Patrick Landeza. He was inspired by the chimes that repeatedly sounded in an airport people mover. The song features a "Spanish" bass introduced into slack key by the late Sonny Chillingworth.
2) Waialua Slack Key (Fran Guidry) - [disc 6, track 15]
Copyright © 2002 Fran Guidry
| Guitars: Larrivee Parlor; McCollum Grand Auditorium (walnut and Italian spruce) |
| Strings: Both guitars were strung with Elixir Nanoweb medium gauge |
| Tuning: Open G (called taro patch by Hawaiian musicians) |
| Recording details: I merged
two versions of the song to create this track. It opens and closes with
a "live" version of the song recorded at a vacation house on Waialua Beach
Front Road, on the island of Oahu. The Pacific is caressing the shore in
the background. I played a Larrivee Parlor, tuned to Open G. I used a Sound
Professionals T-Mic into a Sharp MD-SR60 MiniDisc recorder. The "studio" recording was done in my home studio, using a McCollum Grand Auditorium. The recording chain: a pair of Sound Room Oktava MC012 mics, an M-Audio DMP-3 preamp, and Delta 66 sound card in a Dell Optiplex GX150. The software: Cool Edit Pro 2.0. |
"Waialua Slack Key" is my first slack key composition. I came up with a lick while waiting in the Oakland airport, and worked on expanding the tune as the trip progressed. Since we were staying on Waialua Beach Front Road, the name seemed inevitable.
E-mail: fguidry [at] yahoo [dot] com
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Liner notes compiled & edited by J. Y. Whang