Monday, July 11, 2011

Random Notes (07.11.11)



I have so many different things going on at the moment, it's difficult to adequately articulate any of them. Instead, I thought I'd use the shotgun approach and splatter them all over this one post. Ready?

Personal Hygiene
Look up at the photo on top. I really need to shave. I kind of blew it off all last week for no particular reason. I'll have you know that apart from not having scraped a shard of highly sharpened stainless steel across my face, I am clean and well groomed and smell nice. Don't judge me!

Saturday's Liquid Rehearsal
My former band Liquid (who is reuniting for a one-time show) picked up where we left off a couple of weeks ago with our second (and final) rehearsal before the gig we're doing on Saturday July 23 at Keegan's. I have to stop being surprised that we're a good band. All of us are very experienced musicians, and unlike athletes, our abilities don't diminish with age. Anyway, we continued down our set in mostly alphabetical order, and we also went over some songs with Amanda, our guest-star vocalist. Sounded great, and I'm very excited about the show. Admission is free, and drinks are cheap, so come rock with us!

Are you ready to rock? No, seriously, are you?



Upcoming Second Life Music Events
In addition to the resurrection of my real life music career, I suddenly find myself pretty busy with SL shows. A few highlights:

- Thursday 7/14, 6PM: The Majestic
- Saturday 7/16, 7PM: Relay for Life
- Tuesday 7/19, 5PM: Crystal Gardens
- Thursday 8/18, 6PM: Molaskey's Pub

As usual, all times given are SLT (same as Pacific Time). For SL venue owners who'd like to book me, it's easy: just get in touch with my wonderful manager Maali Beck, and she'll work out the details.

I'm continuing the busiest portion of my life, musically speaking, and loving it.



What Happened to My Shorts?
It's summertime here in the Northern Hemisphere, and I'm lucky enough to live less than a mile from the Pacific Ocean, with the resulting mild temps and all-day sea breeze. Still, it's summer, and it's been warm lately, even here in Redondo Beach where the temps were in the 80s last week. But apparently, almost every pair of short pants I own decided to run away from home. I seems to have just three usable pairs at this point, and one of them may have shrunk to a point of non-wearability (he said, refusing to acknowledge a recent inability to comfortably button size 32 pants).

Anyway, I hereby vow to get some replacement shorts the next time I am near a mall. By doing so, I will probably cause some record cold front to move into Southern California. Mother Nature loves to screw with me, so it's almost guaranteed that whatever season I am prepared for apparel-wise will not deliver the weather I expect.

One of the last surviving pairs. Maybe my other shorts fell through an interdimensional portal of the space-time continuum. It's been known to happen.



Famous Last Words
The date today is 7/11/11. To celebrate, shouldn't I be having a Slurpee and a hot dog that's been spun around under a heatlamp for three days?

Res ipsa loquitur, and mahalo.

Sunday, July 10, 2011

Liquid: The Commercial



LA residents: keep Saturday July 23 (7-10pm) circled on your calendar, and come see the one-night-only reunion of Liquid, the South Bay's real rock band! Keegan's Pub, 1434 Marcelina Ave, Torrance, California 90501. DON'T MISS IT!

Thursday, July 7, 2011

The Audio Argument: Digital vs. Analog

Most of the people who read this blog know me as a guy who strums a guitar and sings, and you're correct. That's what I am, but it's not the only thing I am. I'm also someone's dad. I'm someone's significant other. I'm a guy who owns and operates a small marketing communications company. And while my background and my career has always been integrated with the music world, a good portion of my actual education was in the technical side of audio recording and music production. While I've always been a performing musician -- nearly my entire life -- I also spent a good amount of time on what we call "the other side of the glass", meaning that I've engineered and produced music.

Circa 1993, if you wanted to find me, I'd usually be in a recording studio somewhere. Here I am getting ready to strangle my friend and fellow engineer Mike Gale (who I'm sure deserved it at the time).



As you would imagine, there are entire communities that revolve around the art and science of audio recording, and no single aspect of recording has been as divisive as the argument of "digital versus analog". Even today, some 28 years after the Compact Disc ushered in digital audio to the masses, nothing starts a good 10-page thread on audio forums than someone opining about their preferences and reasons for choosing one over the other. I thought it might be nice to talk about this a little and explain the fast version of why this remains such a hot topic.

1. Analog Sounds Better
"Sounds better" is a stupid thing to write. Listening to music recording is subjective, meaning that what I like might not be what you like. However, without getting into the science behind it, most people prefer the sound of a song that was well recorded on analog tape than those recorded via digital systems, and most people prefer the sound of music being played back on a clean vinyl LP record than from a CD or especially from an MP3 file. Analog simply represents a better approximation of the original sounds being recorded, and there's a warmth and depth to analog that digital recordings fail to completely achieve.

2. Analog Doesn't Sound Better
All this nostalgic talk about analog sounding so much better than digital leaves out one key element: the tangible act of playing back music! Records almost immediately get scratches, and often even the new ones have clicks and pops that happen in the manufacturing process. Cassette tapes were never a good format for listening to music; the noise floor of a cassette meant that when you turned it up during quiet moments, you always heard the hiss of the tape. So while it's great in theory, it's not always great in practice.

Let's face facts: LP records sounded good for awhile, but most eventually ended up like this. The songs on your iPod don't get scratched up.



3. Analog Is Expensive
Whooo boy. Below, you'll see me holding a reel of 2" tape that I used for a 24-track recording back in the early '90s. The machine that I used to record this music was an MCI JH-24, which at the time cost around $50,000. But let's say you don't need the machine; you just need the tape. A reel like the one I'm holding below currently costs about $500. Running at standard speeds, that reel will hold maybe two songs' worth of music. The amount of tape needed for a full album ends up being about $2500 or more. That's fine if you're a wealthy rock star, but for typical people who just want to record, the cost is way too prohibitive.

If tape didn't sound so damn good, this debate would be null and void.



4. Digital Offers More Creative Tools
It's not even debatable. What people can do by recording with digital audio workstations (i.e., computers) is simply amazing. I can copy and paste audio tracks. I can add processing that simply plugs into the recording software I use. I can change the pitch and timing of a performance as needed. While some of these things were possible on analog tape, the process that was required to achieve them was incredibly time consuming, and could ruin an entire recording with one small error (as opposed to hitting the "undo" command when you screw up).

Each year that goes by, more and more creative tools are added to digital recording systems that allow for amazing creative expression and faster workflow.



5. Digital Is Convenient
It would take me pages and pages to explain "the old way" of recording and distributing music. First, you didn't do it. It was a process reserved for musicians/bands that were signed to record labels, who would invest the thousands of dollars it took to go into a recording studio and create singles and albums. Then, the master recording was sent to a plant -- there weren't very many of them -- where albums were pressed and sent to stores. And to sell the music, people had to physically go to the store and buy the album.

Today, a skilled person can make a professionally recorded album in his/her bedroom on a pretty typical computer, and their song can be made available around the world via services like iTunes. My "tape" is the amount of space on my hard drive, and with the price of large drives continuing to dwindle, it's easy to do an entire album on a drive that costs maybe $100. The person buying the music can do so by clicking a mouse and entering a credit card number. While the process of opening the world of professional recording has its downsides (like a lot of people being able to release less-than-spectacular music), I can't help but be in favor of something that democratizes a process that used to be reserved for the wealthy elite.

Even some no-name guy like me can now record their best stuff and offer it for sale alongside the infinitely more famous people on iTunes. None of this would have happened without several levels of revolution in digital audio. By the way, you're welcome to go buy my album right now. You don't even have to keep reading. Seriously, go get it. I'll just wait here.



6. Everyone Listens To Digital Playback Systems Anyway
I'll get yelled at for writing that, but it's really true. How do you listen to music? If you're like 95% of people in 2011, you listen to digital audio downloads like MP3 or AAC files you buy online, or you listen to CDs. Whether it's your iPod, your car stereo, or even the radio, almost every playback system you hear today is digital based. Even with those old records that were recorded in analog before the digital revolution, you are almost certainly listening to newer digital remasters by now.

One good piece of news for analog lovers: due to a couple of different factors, the use of turntables and vinyl LPs has actually had a resurgence over the past 7-8 years, and more artists -- especially indie musicians like myself -- are opting to do runs of record pressings of their new recordings. While I can't justify the cost of doing this for my own music (I don't sell enough albums to break even on it), the idea is constantly tempting. I find that I yearn for the day of hearing the needle plop down on some fresh vinyl and hearing my own recordings come out of the speakers. And I'm not alone; the recent Foo Fighters album Wasting Light was completely recorded on analog tape and is offered in an LP version. The reason for this was that Dave Grohl and his band were adamant that they wanted a rock album that sounded as good as music can be experienced, and I applaud their effort; it was worth it.

Want to hear what rock can sound like when recorded and played back in analog? If you don't have a perfect copy of Led Zeppelin's "Physical Graffiti", try the newest Foo Fighters album "Wasting Light" on a nice turntable.



So, Which One Is Better?
Both... and neither. There's no clear cut winner in this now-old argument, and the act of arguing about it is a massive wate of time. No one is going to be convinced, be it through scientific explanations or evangelizing the subjective sound of one over the other, that the opposite side is correct. The good news in all of this is that while digital audio isn't ever going away, it does continue to evolve and improve, and there may come a point in the not-distant future that audibly, one will be indistinguishable from the other. Until then, as I always say, the most important part of making good music is writing good songs... a much better use of someone's time than arguing about the technological side of things.

Friday, July 1, 2011

The Majestic (06.30.11)



As you probably know by now, a couple of weeks ago I started my new regular slot at The Majestic, a fine venue on the San Diego City sim in SL where I hadn't played for the two previous years. It wasn't a very auspicious return; I'd completely forgotten that the 6PM weeknight slot in Second Life is insanely packed with shows. In fact, before my show last night, I took a peek at the other live music events that were scheduled at the same time as mine. Holy crap!

I like many of these artists and the venues where they're playing, but damn! It's hard to try and round up a crowd at the 6PM time slot with all these choices.



That having been said, my second show of my new regular slot at the Majestic ended up being terrific. We didn't have a gigantic crowd, but it was respectable for the 6PM slot... quite a bit bigger than last time, and the folks who were there were engaging and obviously having fun. Really, I don't ask for anything other than that... my audience talking and laughing, and everyone having a good time. It's as important to me that they enjoy the vibe of the show as they do the actual music. Sure, it's nice when I pull off a great performance or two and get my ego stroked by folks who get immersed in the music, but ultimately what it's really all about, especially in SL, is for folks to walk away having had a smile on their face for the last hour, and I don't care what inspires that. Sometimes it's hearing a song they love, but often it's also the banter between my crazy Zakster fans that makes the event worthwhile.

My view. I really think we'll continue building a regular crowd to come see me every other Thursday evening at the Majestic. Fun place, good staff, nice vibe. Show photos by Kat.



Speaking of the music, though... one nice thing about having a big repertoire is that I can go many shows without playing the same songs twice (though I obviously tend to pull out a few of my originals that come up at nearly every show). I also try and constantly add new material, which keeps it interesting both for myself and my fans. We pulled out a new one last night, and also did an original that I'd kept in the drawer for quite some time. In any case, I'm back at the Majestic in two weeks (Thu 7/14 at 6PM), so we'll have a new batch of tunes to try at that show.

The Majestic Set List...
Change (Tears for Fears)
Polly (Nirvana)
Time Never Waits for You (Zak Claxton)
*Into the Mystic (Van Morrison)
Falling Down (Zak Claxton)
Starman (David Bowie)
Always Tomorrow (Zak Claxton)
I Am the Walrus (Beatles)
De Do Do Do, De Da Da Da (The Police)
This Afternoon (Zak Claxton)
Black Peter (Grateful Dead)
Soul Kitchen (The Doors)

*Indicates the first time I've performed this song in SL. Coincidentally, this was the first time I'd ever performed any Van Morrison song in SL. Pretty weird, huh? I have no idea why this is the case. Van is cool and people love his music.

Huge thanks to everyone who supported my show!
Alchemy Epstein, Uma Carlucci, shoota Waves, Alexis Fairlady, Horizon Darkstone, Triana Caldera, TheaDee, Kat Claxton, my terrific manager Maali Beck, Majestic hostess Tialicia Muircastle, Majestic manager Kalli Birman, and owner Ayesha Lytton!

Tuesday, June 28, 2011

Michael Jackson Tribute on StageIt (06.27.11)


On Friday of last week, I got an email from Kristen Payne, the artist relations manager for StageIt. If you haven't been following along, StageIt is a relatively new online service that allows for people to see artists perform on live video over the Internet for relatively cheap (or free).

In any case, they were doing a special show on Monday 6/27, and asked if I'd like to participate. The show, the email went on to explain, was a tribute to pop icon Michael Jackson, commemorating the two-year anniversary of his passing. At first glance, I wasn't very interested, until I saw the format they'd set up: 12 artists would each have with five minutes of airtime to perform one song by the King of Pop. Well, that sounded fun, and it just so happened that in my large list of songs, there was one MJ tune that I'd done in 2009 shortly after his death.

Side note: I'm not a big Michael Jackson fan. I appreciate him; I respect what he did. I really liked his earlier stuff from his Jackson 5 days through Thriller. But just from a point of context of my doing this show, I certainly don't do his songs very often, and like many people, I eventually had trouble separating the music from the controversy that surrounded him in his later years. However, I do remember being a kid in junior high school who -- despite being into bands like Aerosmith and AC/DC at the time -- would still put songs like "Shake Your Body" on the family stereo and groove my ass around the room... mostly when no one was there to see. Even in high school, when my musical tastes ranged from Iron Maiden to the Grateful Dead, when Thriller came out it was like being on a beach and having a tidal wave hit. Its impact on society was inescapable. I think I blurted out, "Holy shit!" in front of my parents when I saw him do this on a TV special (listen to the crowd reaction starting at 3:45-ish).

Michael, circa 1983. This was the last point that he seemed kinda sorta like a normal human being (though he really wasn't, of course).



Seriously, I can remember the first time I saw Michael do his moonwalk as well as I can remember any major event in history.



Long story short: I told Kristen to count me in for the tribute show, and I'm glad I did. I decided to do "Off the Wall", one of the few Michael Jackson tunes that can be comfortably arranged for a guy playing acoustic guitar. I then spent an hour or two over the weekend determining how I could do the song well (which turned out meaning that I'd need to drop it down to A from its standard key of D... I'm not a glutton for punishment, after all). When Monday evening rolled around, I was ready. My only regret, being scheduled toward the latter part of the hour, is that I wasn't able to watch many of the other artists perform their MJ covers, since I was busy preparing for my own show. However, the song went off well, and my crowd seemed to really enjoy my five-minute performance of "Off the Wall". It had good energy, and I had a nice groove rolling on the guitar as I worked my way through the tune.

One thing: performing well on one song -- just one song -- is hard! You need to get all warmed up and ready, working yourself up to the point where you can do a kick-ass show, and then five minutes later, you're thanking your audience and saying goodbye. I have a lot more empathy for folks who play a single tune on an awards show, or on "Saturday Night Live". It's definitely a different experience than putting on a typical hour-plus concert.

Finally, it needs to be said: Michael was a weird guy who had zero chance of being a normal person, given his background. But he was a weird and extraordinarily talented guy. I'm not saying one cancels out the other, but in retrospect, his contribution to the world of entertainment will overshadow all of the tabloid talk about him in the long run. I mentioned at the end of my song that it was an honor to be involved in the tribute, and I meant it.

Farewell, Michael.

Sunday, June 26, 2011

SL8B (06.26.11)



I'm not sure if I mentioned this before, but I was a bit trepid about performing at SL8B, the eighth birthday celebration of the online virtual world Second Life. I'll explain why: the last time I played at the annual event was at SL5B, three years ago. While the show itself went fine, the lack of coordination and communication beforehand was maddening, and the team who ran the show seemed snotty and ungrateful to the folks who were donating their time and energy to perform.

I purposefully did not participate for the next two years of SL birthdays as a result of that experience. However, my friend Diana Renoir, who is involved in a number of large event coordination activities in SL, told me that the celebration was in much better hands now, and asked if I would give it a shot. I did, and I'm very glad to say that it was like a night-and-day difference by comparison. You would think that especially by today (the final day of the official celebration) that all of the hosts, stage coordinators, and liaisons would be completely fried. Instead, I found their system of confirming stream function in advance of the show (so there would be no issues for artists when they got onstage) to be very efficient, and as a result the technical side of getting live audio to a lot of people at once was handled smoothly.

Made it to the stage. Time to rock SL8B. Photo by Kat.



Also -- and don't underestimate the importance of this -- the folks running SL8B seemed appreciative and grateful to the artists who were performing. They were friendly to the crowds and supportive of every aspect of the event. Gotta hand it to them for their hard work; it was effective!

I'm that tiny dot in the distance. Photo by Kat.



So, on to the show itself. We had a very nice crowd of over 60 SL avatars in the 4-sim Main Stage area. I went on stage following Cypress Rosewood (who was performing along with fire dancers and an elephant), and I knew that my brand of silly rock and pop music wasn't exactly a smooth transition. So, I threw caution to the wind and opened up with a lively Joni MItchell tune, figuring that those who liked that kind of thing would hang out, and most of them did.

Zak's SL8B Set List...
Big Yellow Taxi (Joni MItchell)
This Afternoon (Zak Claxton)
Nowhere Man (The Beatles)
Landslide (Fleetwood Mac)
Broken Day (Zak Claxton)
Save It For Later (English Beat)
You're Like a Cloud (Zak Claxton)
On the Way Home (Buffalo Springfield)
Man of Constant Sorrow (Traditional)
Radio Free Europe (REM)
Falling Down (Zak Claxton)
Redemption Song (Bob Marley)

Special thanks to the folks who ran SL8B for their fine work (especially Diana Renoir, Lisa Fossett, ChatBrat Pippita, Dagoth Graves, Jahman Ochs, and Doctor Gascoigne)! Congrats to Linden Lab on eight years! Finally, thanks to everyone who supported my show today!
fay Rehula, Tristan Rogers, Kat Claxton, Delphy Heungsung, pallina60 Loon, Liam Metaluna, Blindboy Gumbo, Diana Renoir, TheaDee, Juliette Venom, Toxic Darkmatter, Wildstar Beaumont, Janie Xofan, and Cordelia Cerise!

Saturday, June 25, 2011

Liquid's first rehearsal in four years



I spent this afternoon doing something I love: rocking hard with a band in a garage. It was the first time since 2007 that my old band, Liquid, got together to make some noise.

As I've recently mentioned, this rehearsal was our first time back together in preparation for our reunion show, scheduled for July 23 at Keegan's Pub in Torrance, CA. My expectations were pretty high; Liquid was a pretty tight band with really good individual musicians, so I didn't think that four years away from each other was going to completely negate the simpatico we'd had when we were playing live all the time.

After our 3-hour jam today, I have to say that our playing exceeded my already-high hopes. Sure, there were a couple of tunes where we weren't 100% nailing everything, and we each had our individual moments of clamdom (my favorite was Dante's kick pedal foot going into auto-mode on "Good Times, Bad Times"), but altogether, I feel that we were actually tighter than we were at the end of our gigging days. Who knows why? Maybe the time away from our own set list gave us some better perspective on the songs. I can tell you that we've all stayed busy at music in various ways since then, with Phil and Randy both performing in their respective bands and Dante always in demand to sit in, or play on sessions (and my solo performing show I've done since 2007).



Whatever the reason was, I'm really confident that the show on 7/23 is going to be phenomenal. We got through a good chunk of our set today in rehearsal... here are the tunes we rocked today (obviously using the alphabetical order of the set list).

Alright Now - Free
Baby Please Don’t Go - Various
Back In The USSR - Beatles
Born To Be Wild - Steppenwolf
California Dreamin - Mamas & Papas
Cinnamon Girl - Neil Young
Come Together - Beatles
Communication Breakdown - Led Zeppelin
Custard Pie - Led Zeppelin
Dazed & Confused - Led Zeppelin
Everybody Wants You - Billy Squire
Gimme Some Lovin’ - Spencer Davis Group
Good Times, Bad Times - Led Zeppelin
Hard To Handle - The Black Crowes
Heart Breaker/Livin’, Lovin’ Maid - Led Zeppelin
Helter Skelter - Beatles
I Don’t Know - Ozzy Osbourne
I Want You To Want Me - Cheap Trick
Interstate Love Song - Stone Temple Pilots
Jenny (867-5309) - Tommy Tutone
Love Me Two Times - Doors
Man In The Box - Alice in Chains
Mary Jane’s Last Dance - Tom Petty
Money - Pink Floyd
My Own Worst Enemy - Lit
Tie Your Mother Down - Queen

One more rehearsal to nail down the rest of the songs in two weeks, and then we'll be ready to rip it up at Keegan's on the 23rd!