listening to dark tranquillity and working like a machine right now,

We carry our fear inside,

A space that holds the darkness,

We stretch our skin around,

To cover the Abyss

And I didn’t know I had this much mojo anymore, I couldn’t believe it when running the route, because my whole body felt rusted, every movement was provoking a resigned protest from this body I’m in

It’s not the one I would’ve chosen, but it is mine

And the sun did me some good, like an exorcism with this running around getting nowhere, it’s supposed to feel this way

But the curse has lifted

And with this sun shining down on me, I enter into the week end

The apiary be Scottish run to mute Late December this hugger And seeing simply rise What time in Hearst for Will Enough of oak And seeming simpler For five octet and lane And pasture by the law Economy forever- and nines to the Moon Giving ray to God And night shall let us be- the end of war.

A Benediction in Christ

Sound out the early years Be humbled by God This is His Grand Season Fear not any judge, but In hand keep session- The care of others truly Be supplicants of joy Raise tidings to Heaven Reap the later harvest- And sow in yearly time At attire, be in grace These are tenets of the EU- Your days and the world Rolling up maps of your neighbour- Let him in.

The kindness and longsuffering of Women- In war and peace, recognize and relieve

Peace to all animals, shepherds, and life in the seas.

Forgive others- And be just in your decisions Lend Heaven to all.

Pray against war, and serve victims as if royalty. Be well and steadfast, humble, and true,

We pray in Christ Jesus,

Amen

The band is getting back together!

For anyone who doesn’t know, Keri and I have been collaborating online with folks all over the world for years. I’ll write a song, get crazy about it, hear a friend or favorite artist on a part, send them a proposal with a nice demo and idea for the song, and they say yes a lot. I am so fortunate to get to do this. I feel very happy about the work done so far. It has taught me a lot about not just music but working with people. I desperately need all the skills I can get in that area. I don’t get to spend much time around people and don’t even really know how. It’s been that way for years, I don’t expect it will magically change. So not only is music my creative outlet, it’s my social one too.

I do find a purpose with me and an acoustic. But by the time I ask someone on a tune, that purpose has been had. That song has probably made me cry. I have thought about the words a lot. I have placed things where they should go. I get fulfillment out of all that. But I don’t get to hang out with buddies. So I share it. I like hanging out with buddies. Win/win.

A hot mix takes a moment

I have come across some amazing technicians, one of them is probably a genius. I get so wow’d with their mixes, it just blows me away. Sometimes, to be honest, the mix is all I hear. I have to listen to the song several times, over time, to get critical about the song again because the wrapping paper is so shiny. This is where conflict can happen. I wanted to talk about that.

When you think about “rules”, think about “roles.”

I think one of the most important rules about collaboration in music I have picked up over doing it many times is established roles. If you have a two-man team and one is a tech and one is a creative, those folks should trust each other with the roles they want to do. In order to do that, a conversation or agreement helps; “I’ll do this, you do this.” If you stick to that, people often are happy and want to work with you again. This took me a long time to learn. I hope you are taking notes.

“You write a song, I’ll mix it.”

The areas where I have had the hardest time in this regard involve a tech and a creative dynamic. I mentioned I know a technical genius. He is not a creative one, at least in my style of music. That’s okay. I theoretically make the decisions regarding creativity. If he steps on my toes there, it may lead to resentment. It might not even be at final mix time, for me. All the other stuff sounds so good, I can’t focus on the creative aspects when I first get a mix. Sometimes, I may not be resentful until afterward. When I hear a demo, for example, and the drums are in different places. I want to hear my impact on the song and the decisions I made. So I end up listening to my versions after all that work with a genius. It’s not because they sound any better, (they don’t). It’s the drums on the bridge. It’s every bit as much my fault as it is his, this resentment. I hate it.

There is a better way. 

We make rules not just so we can be civil. Rules help us not get hurt and they also help build trust. Not everyone will follow them. But in what I do, most folks do follow them. 

When I was a retail manager at a major hardware store chain, I took a test for a position and was asked in a subsequent interview, “what is the number one cause of turnover?” I had studied their material, so I knew the answer they wanted. It was training, or lack thereof. This chain had figured out 30 years ago that folks feeling incompetent made for a miserable work environment. So they trained me on training folks.

Communication, really. Oldest thing.. not getting better.

Some of the things I learned have carried over into music. This is where I get the “know your roles” tip. If every crew member has a firm grasp on the task at hand, you are ahead of the game. This is usually in a proposal for me. I will have a clearly laid-out purpose for them being on tune. The only time when this gets a little murky is when I hear someone’s presence but can’t quite spot it. They will help me with that, usually. People on our tunes often write their own parts. In my imagination, I can hear how they sound, just not exact notes. So from the get-go, folks know exactly what’s expected and can think on their role. That’s the goal. A lot of collaborations, even “successful” ones, are not this smooth. It’s because of communication. I know it’s cliché, but it is.

The wonk of silence.

As a trucker, a retail manager, and other things in my past, I can tell you communication is essential for good work from multiple personalities. On creative projects especially, a wavelength helps. That doesn’t happen over the web without words flying around. I’m not saying every project has to blow up a chatroom. But I am certainly saying, if you aren’t chatting with coworkers, the work environment is wonky. Expect wonky results. 

Flaking is fine. But don’t expect a pat on the back for it!

I know a lot of talented recluses. They may only send a sentence a day. But if they are into it, they know other folks on the project need the updates, not just me. I’ve been on a record with 23 people, all over the world. It was excruciating at times, just waiting to hear from people. I can’t afford to call them back. It took years off my life last time. It wasn’t the recluses, either. It was the socialites. I don’t mean to say I have anything against them. I have flaked on my fair share of collaborations. But I don’t expect a callback when that happens.

“I thought I hired you to mix?”

Out of all the folks I have worked with, I have come into the most conflict with hiring technical assistance who put in creative assistance. I can even be very clear from the outset, “I make creative decisions, you make technical ones.” I have paid a lot of money (by my standards) to get robbed of those decisions. I have mixed words with wonderfully talented technicians not on setting the compressors, but when the drums come in. Okay, look, as a technician, if a creative is paying you for their vision to come to life, if you rob them of their decisions, you rob them of their vision. Don’t charge them money for that. Your ego is already profiting off their work. Charging them for that is like double-tapping the ATM machine.

I’m a freaking song factory!

So now I am doing it all myself. That’s really the reason I am transitioning to analog. It isn’t as hard. I can have 3 good options in analog setups for something like compression. I can have 100 or more in a computer. I take the 3. Sorry to the folks that want the 100. It’s a compressor. 

Decide, make a move, hear the result.

When I work with analog gear, I can feel and hear the impact of my decisions easily. I think it, I turn the knob, I hear a difference. This, to me, is gratifying in a way computers are not. In a computer mixing situation, I am often selecting from menus to find something that sounds right without having much direction in my head. In an analog mixing situation, I’m finding I hear what I want in my head first and make it happen. There’s only one way I want to work from now on, and it doesn’t include a screen and unlimited options. 

It’s an older model, but it still checks out.

I am taking on tech and creative roles. So, for my situation, the fewer tech options, the better. I want to focus mainly on creative ones. Computers don’t let you focus on other stuff these days. A software company’s goals are to make you use their software for as long as possible. When I am writing tunes, I am not into that. So I had to customize the tech side. It’s old and lean, but it sounds nice. I am okay with that.

If you hear me, contact me. Thanks.

I am very fortunate I get to do this. It is something I never would have anticipated in my life even five years ago. Things happen. If you are struggling and want to talk about analog treatment or creative input on your music project, just know I never charge for that stuff. It’s also take it or leave it. You’re in charge. I just like trying to help creatives get over humps. No biggie. 

If you hear me on a song, singing…guitar…lyrics…bass…fretless bass…djembe… anything…don’t hesitate to give me a shout on the ole email; thekintnersmusic@gmail.com. I don’t charge for that either. It’s fun for me to hang out with musicians and work on other folks’ projects. 

I want to be supportive, if I can help somewhere, just holler at me. 

Kelly Kintner, Editor

The Horse’s Mouth Magazine

I am learning new songs, writing new ones. The Kintners have a double album in the works. We are on schedule for Christmas release.

I wanted to leave a song here, Friday and all.. This is “Smoke and Mud.” It was a massive collaboration. So, in the spirit of that. Thanks!

Also, still lots of free codes for latest release by The Kintners, “Some Folks.” Enjoy.

Today I matched with an alt person who is a lifter also, And they were sure that I was taking steroids. They were super surprised when I said I wasn’t, and I’m really proud of that. I also found out that one of my friends at my new gym takes steroids, and it makes more sense because he has an absolutely insane physique. But I kind of just told myself that that was because he is incredibly diligent with his training and also his diet. I guess I’m really surprised how many people actually are on steroids, because another friend from the Gym also told me they were on steroids.

 6. À leurs côtés

Les soldats avaient installé de grandes tentes qui attiraient notre curiosité. On s’y rendait en bande pour se rassurer. Souvent ils nous donnaient du chocolat, ça valait le coup. Parfois on avait le droit de tourner les manivelles de leur radio, c’était dur mais quelle fierté ! On se battait presque pour être le premier. Il y avait des filles dans notre bande, elles n’étaient pas les dernières. Nous nous familiarisions réciproquement avec nos différences anatomiques. Ma sœur avait 10 ans, elle allait à l’école chez les sœurs, elle me paraissait appartenir à une espèce étrangère. Peut-être était-elle française aussi, comme les soldats ?

L’atmosphère dans la grande maison était lourde. Mes parents ne s’entendaient pas. Les disputes incessantes entre ma mère et ma grand-mère rendaient la vie commune insupportable. Ma mère avait juste trente ans, elle voulait s’amuser, repartir pour la France. « La chèvre meurt où on l’attache » lui répondait-on. La seule douceur venait des domestiques. Je passais plus de temps avec elles qu’avec mes parents. Je me sentais bien, j’aimais les écouter chanter ou bourdonner des airs traditionnels, c’était beau, c’était tendre. Souvent le soir je m’endormais à leurs côtés. Je me réveillais le lendemain matin dans le lit de ma nounou.

Elles étaient dévouées à ces Français pourtant peu aimables, ne se plaignant jamais, toujours actives, aujourd’hui encore je les trouve admirables. Je passais des heures à aider, de mon mieux, la cuisinière, qui préparait des merveilles sur deux trépieds chauffés au charbon de bois. Mes parents étaient traités comme des princes, il semble que c’est ce que demandaient, d’ailleurs, tous les coloniaux, comme un dû. Je mangeais le plus souvent accroupi avec ma nounou et ces femmes. Elles me gardaient des bons morceaux en riant. J’appris vite à utiliser les baguettes. Aujourd’hui encore l’odeur du riz fait bondir mon cœur.

#nguolai