J. Whitman's Updates http://jwhitmanmusic.com/blogupdates.cfm Fri, 16 Jul 2010 23:36:47 GMT http://sitezoogle.com/ The Choice Remains http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=359353  This week, I'll be focusing on The Choice Remains, the tenth and final track from Revolution Rising. Originally intended for Brand New Relic, this track was in the writing process when the band split up. It seemed appropriate for me to make this the final track for the album since it dealt with the concept of learning from the past. The story for this song follows a woman contemplating her life and the future of her unborn child, a man (loosely based on my ex-lead guitarist) who struggles with breaking free of his past, and ends with a philosophical observation which leaves us with the option of taking control of our fate. The lyrics had already been finalized before I started my own process of writing the instrumentation, so it went pretty fast once I had my concept arranged properly. BEFORE: Once again, this was another TRAXXPAD/GarageBand fusion. The piano and contemplative synth Apple Loops just seemed to fit perfectly with the melancholy feel of the whole piece. Adding the guitar part was a decent idea to drive the second verse and final chorus home. But as is always the case with the old material, the mixing and mastering process was difficult due to the poor sound quality of TRAXXPAD. AFTER: And yet again, another complete overhaul (noticing a pattern yet?). The piano and synth loops stayed, and new synths were added along with a new bass part. The mastering process was much easier with the vocal preset, so while still maintaining the original melody, it has the cleaner sound I was aiming for. That concludes this blog series. I hope that you've found this to be just as enlightening as I have revealing the rewrites and re-recording process to you. This has been a long and involved process, but a rewarding one. Now, I am confident that my original vision has been realized, and I'm content with final result of this, my first full-length album release.  This week, I'll be focusing on The Choice Remains, the tenth and final track from Revolution Rising.

Originally intended for Brand New Relic, this track was in the writing process when the band split up. It seemed appropriate for me to make this the final track for the album since it dealt with the concept of learning from the past. The story for this song follows a woman contemplating her life and the future of her unborn child, a man (loosely based on my ex-lead guitarist) who struggles with breaking free of his past, and ends with a philosophical observation which leaves us with the option of taking control of our fate. The lyrics had already been finalized before I started my own process of writing the instrumentation, so it went pretty fast once I had my concept arranged properly.

BEFORE:



Once again, this was another TRAXXPAD/GarageBand fusion. The piano and contemplative synth Apple Loops just seemed to fit perfectly with the melancholy feel of the whole piece. Adding the guitar part was a decent idea to drive the second verse and final chorus home. But as is always the case with the old material, the mixing and mastering process was difficult due to the poor sound quality of TRAXXPAD.

AFTER:



And yet again, another complete overhaul (noticing a pattern yet?). The piano and synth loops stayed, and new synths were added along with a new bass part. The mastering process was much easier with the vocal preset, so while still maintaining the original melody, it has the cleaner sound I was aiming for.

That concludes this blog series. I hope that you've found this to be just as enlightening as I have revealing the rewrites and re-recording process to you. This has been a long and involved process, but a rewarding one. Now, I am confident that my original vision has been realized, and I'm content with final result of this, my first full-length album release.]]> Fri, 16 Jul 2010 23:36:47 GMT C6A21B038A1A00BED92C216DBF354673 Revolution Rising http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=354629  This week, I'll be covering my masterpiece, the title track from Revolution Rising. For over 10 years, this track has been slowly developed. From the theme song to the film concept to the title track of my first full-length album, this purely instrumental piece clearly defines me as an artist. The epic scope of this track is what drew me to make this my "masterpiece", and it's the predecesor to tracks like Dark Lullaby, Down the Path to Destruction, and Breaking Point. Every part of this track has been meticulously thought out, written, and recorded to be the best it can be. If there is one track I want to get right every time, it's this one. BEFORE: Unfortunately, the original Garageband file has long since been lost, so I can't share a picture of the original edit. What I can share with you is the writing process in its entirety. The concept always included a build from the orchestral intro to the trance electronica/industrial rock-inspired chorus that makes up the main part of this song. When I first wrote this track, all I had was TRAXXPAD, and even though it's a decent program to learn how to use MIDI software, it doesn't have the sound quality that GarageBand has. I tried to add the TRAXXPAD sequences instead of recording more original parts, so the quality of the overall piece dropped dramatically. Needless to say, the original was good, but just not good enough. AFTER: In this picture, you can see that the entire track got a complete overhaul. New guitar parts, new synths tracks, new orchestral parts (which got a major boost from the new Jam Pack), and for the first time since its original creation, a new part just for this rewrite. Apparently, a family member had informed me that the middle of the track dragged, so I put in a new instrumental build to give the whole song a better consistent flow. A new Apple Loop synth was added to give this new section some variety. In the end, all of the original elements are still here, from the first orchestral build to the "round" toward the end of the track. Mastering was made simple by using the instrumental preset. Next week, I'll be covering the final track from Revolution Rising entitled The Choice Remains.  This week, I'll be covering my masterpiece, the title track from Revolution Rising.

For over 10 years, this track has been slowly developed. From the theme song to the film concept to the title track of my first full-length album, this purely instrumental piece clearly defines me as an artist. The epic scope of this track is what drew me to make this my "masterpiece", and it's the predecesor to tracks like Dark Lullaby, Down the Path to Destruction, and Breaking Point. Every part of this track has been meticulously thought out, written, and recorded to be the best it can be. If there is one track I want to get right every time, it's this one.

BEFORE:

Unfortunately, the original Garageband file has long since been lost, so I can't share a picture of the original edit. What I can share with you is the writing process in its entirety. The concept always included a build from the orchestral intro to the trance electronica/industrial rock-inspired chorus that makes up the main part of this song. When I first wrote this track, all I had was TRAXXPAD, and even though it's a decent program to learn how to use MIDI software, it doesn't have the sound quality that GarageBand has. I tried to add the TRAXXPAD sequences instead of recording more original parts, so the quality of the overall piece dropped dramatically. Needless to say, the original was good, but just not good enough.

AFTER:



In this picture, you can see that the entire track got a complete overhaul. New guitar parts, new synths tracks, new orchestral parts (which got a major boost from the new Jam Pack), and for the first time since its original creation, a new part just for this rewrite. Apparently, a family member had informed me that the middle of the track dragged, so I put in a new instrumental build to give the whole song a better consistent flow. A new Apple Loop synth was added to give this new section some variety. In the end, all of the original elements are still here, from the first orchestral build to the "round" toward the end of the track. Mastering was made simple by using the instrumental preset.

Next week, I'll be covering the final track from Revolution Rising entitled The Choice Remains.]]> Fri, 09 Jul 2010 19:00:00 GMT 397CEAD4B8515743C3D7EE2584146A8F A.I.M. http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=343133  This week, I'll be covering A.I.M., the eighth track from Revolution Rising. This track has been in the planning stages for about as long as Revolution Rising itself. It was originally designed as background music for an elaborate chase sequence I had envisioned for the film concept. When it came time to write the album instead after shelving the film idea, I made it a point to put this song on the track list. It holds up to its name (the acronym stands for "action in motion") with a driving beat and overall feel. BEFORE: Again, the original GarageBand file was lost, but I tried to remaster just the full track. If you've read the entry on Sic Vis Pacem Para Bellum, then you can see where the same problem occurs. Not much to say on the "Before" section, but I guess that's my own fault. AFTER: You'll notice that I broke down the arrangement into four sequences to fit all the necessary changes in the track. This song got a complete overhaul during the re-writing and remastering process; from new drum tracks to new guitar tracks. The original melodies and harmonies are still intact, although the sounds may have changed slightly. Once again, I used the same instrumental mastering preset to add the final touch to the mix. A simple, straight-to-the-point piece; no more can be said here. Next week, I'll be covering the title track Revolution Rising, my personal masterpiece and the ninth track from Revolution Rising.  This week, I'll be covering A.I.M., the eighth track from Revolution Rising.

This track has been in the planning stages for about as long as Revolution Rising itself. It was originally designed as background music for an elaborate chase sequence I had envisioned for the film concept. When it came time to write the album instead after shelving the film idea, I made it a point to put this song on the track list. It holds up to its name (the acronym stands for "action in motion") with a driving beat and overall feel.

BEFORE:



Again, the original GarageBand file was lost, but I tried to remaster just the full track. If you've read the entry on Sic Vis Pacem Para Bellum, then you can see where the same problem occurs. Not much to say on the "Before" section, but I guess that's my own fault.

AFTER:



You'll notice that I broke down the arrangement into four sequences to fit all the necessary changes in the track. This song got a complete overhaul during the re-writing and remastering process; from new drum tracks to new guitar tracks. The original melodies and harmonies are still intact, although the sounds may have changed slightly. Once again, I used the same instrumental mastering preset to add the final touch to the mix. A simple, straight-to-the-point piece; no more can be said here.

Next week, I'll be covering the title track Revolution Rising, my personal masterpiece and the ninth track from Revolution Rising.]]> Fri, 02 Jul 2010 19:50:00 GMT 97F28CC5146B8B0461747591468A8BC1 2 July Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=343069 There's a lot to cover in this month's edition of updates, so here's the list as follows:I've posted some new tracks from the next LP I'm writing to my ReverbNation profile, including a new collaboration with my good friend and colleague Tim from Thirty 2 Twenty. This is the first time we've worked together since the split of our last band Brand New Relic in June of 2009. To give you a little bit of background on the new album, it's much more heavily influenced by some industrial rock artists I listen to, so this one is going to be louder, harder, and more aggressive compared to the last two LPs. Also, I've been pushing myself harder on my vocals (I've been working on hitting notes much higher than I normally do), so you'll hear some surprising things on this next album.As I write this, I'm waiting to receive word on my license application that I sent to ASCAP, a leading performing rights organization. My colleague and producer Breck Stewart informed me that I could sign up with BMI (another leading PRO) for free, so if I don't get the ASCAP license, I'll go with BMI. The reason behind this is once I have the licenses for Songwriter/Composer and Publisher, I can participate in the Song Licensing opportunities that ReverbNation is currently offering.Semi-finalists will be announced soon for Rock The Space 2, a competition hosted on MySpace by Toyota Music. Basically what will happen is in September, the winner will receive a recording contract with MySpace Records. My new single Perception is currently entered, so hopefully, I'll make it to the semi-final round in a few days.Production is already underway for the next L.A.L.S.R.M. Ghost Train. My friend and colleague Aaron has me doing a sound design for a new display he's co-designing.A couple of my tracks have been used by Dystopian Snowmen Productions, an independent film company founded and operated by a friend of mine from college. I'll post a link to their YouTube channel below.Work is still progressing on the sound design for Miss Julie, which will open in October. I'm also still waiting to start on the next production by The Upstairs Crows this September. We'll be doing another run of The Last Days of Judas Iscariot with some casting changes &amp; a new-and-improved set.That about covers this month's updates, so please stop by my profile at <a href="http://www.reverbnation.com/jwhitman">http://www.reverbnation.com/jwhitman to take a listen to all the new tracks, and visit the YouTube channel of Dystopian Snowmen Productions at <a href="http://www.youtube.com/user/DystopianSnowmen">http://www.youtube.com/user/DystopianSnowmen. &lt;/p&gt;

  • Ive posted some new tracks from the next LP Im writing to my ReverbNation profile, including a new collaboration with my good friend and colleague Tim from Thirty 2 Twenty. This is the first time weve worked together since the split of our last band Brand New Relic in June of 2009. To give you a little bit of background on the new album, its much more heavily influenced by some industrial rock artists I listen to, so this one is going to be louder, harder, and more aggressive compared to the last two LPs. Also, Ive been pushing myself harder on my vocals (Ive been working on hitting notes much higher than I normally do), so youll hear some surprising things on this next album.

  • As I write this, Im waiting to receive word on my license application that I sent to ASCAP, a leading performing rights organization. My colleague and producer Breck Stewart informed me that I could sign up with BMI (another leading PRO) for free, so if I dont get the ASCAP license, Ill go with BMI. The reason behind this is once I have the licenses for Songwriter/Composer and Publisher, I can participate in the Song Licensing opportunities that ReverbNation is currently offering.

  • Semi-finalists will be announced soon for Rock The Space 2, a competition hosted on MySpace by Toyota Music. Basically what will happen is in September, the winner will receive a recording contract with MySpace Records. My new single Perception is currently entered, so hopefully, Ill make it to the semi-final round in a few days.

  • Production is already underway for the next L.A.L.S.R.M. Ghost Train. My friend and colleague Aaron has me doing a sound design for a new display hes co-designing.

  • A couple of my tracks have been used by Dystopian Snowmen Productions, an independent film company founded and operated by a friend of mine from college. Ill post a link to their YouTube channel below.

  • Work is still progressing on the sound design for Miss Julie, which will open in October. Im also still waiting to start on the next production by The Upstairs Crows this September. Well be doing another run of The Last Days of Judas Iscariot with some casting changes & a new-and-improved set.


That about covers this months updates, so please stop by my profile at http://www.reverbnation.com/jwhitman to take a listen to all the new tracks, and visit the YouTube channel of Dystopian Snowmen Productions at http://www.youtube.com/user/DystopianSnowmen. </p>]]> Fri, 02 Jul 2010 10:00:00 GMT 5403AD4DD8A47B54FDC4C3712DEEF703 Sic Vis Pacem Para Bellum http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=334384 &nbsp;This week, I'll be covering Sic Vis Pacem Para Bellum, the seventh track from Revolution Rising. This purely instrumental piece is based on the Latin phrase that makes up the title, which translated into English reads as follows: &quot;if you want peace, prepare for war&quot;. I was fascinated by this phrase when I heard it quoted repeatedly in the film &quot;The Punisher&quot; (the 2004 remake with Thomas Jane and John Travolta). I wondered what would the whole process of preparing for war sound like, so I went through a few different versions ranging from a slow intro build into an intense, edgy piece to the current version you see now. The original concept has always been the same: &nbsp;start with upbeat sounds, and progress to much darker sounds. To stay with this concept, I wrote in a sense two separate songs and spliced them together: one electronic, the other orchestral. BEFORE: Never mind the arrangement track in this picture. When trying to remaster this from the original the first time, I needed to separate the different parts to arrange them properly. When trying the second time, I had lost the original GarageBand file, so I has to take the track from my iTunes library to try to remaster it. If you think the TRAXXPAD elements were hard to remaster, try just a single track for the entire song. Nothing was working, no matter what I did. AFTER: Now you can see why I needed the arrangement track. This re-recording process was interesting since I got to really use the new Symphony Orchestra JamPack to give those sounds new life (as it were). You can see the difference between the electronic sounds and the orchestral sounds I mentioned earlier just by comparing the different parts of the arrangement. From top to bottom, the entire track got new synth parts, new guitar parts, new drum tracks, new flute track, new string &amp; brass parts, and a new bass track; all with the same melody from the original piece. For the remastering, I adjusted my vocal preset slightly: I used the &quot;Add Brightness&quot; visual EQ to boost the clarity of all the tracks. Now, I've got two mastering presets for both vocal and instrumental songs. Next week, I'll be covering A.I.M., the eighth track from Revolution Rising.  This week, I'll be covering Sic Vis Pacem Para Bellum, the seventh track from Revolution Rising.

This purely instrumental piece is based on the Latin phrase that makes up the title, which translated into English reads as follows: "if you want peace, prepare for war". I was fascinated by this phrase when I heard it quoted repeatedly in the film "The Punisher" (the 2004 remake with Thomas Jane and John Travolta). I wondered what would the whole process of preparing for war sound like, so I went through a few different versions ranging from a slow intro build into an intense, edgy piece to the current version you see now. The original concept has always been the same:  start with upbeat sounds, and progress to much darker sounds. To stay with this concept, I wrote in a sense two separate songs and spliced them together: one electronic, the other orchestral.

BEFORE:



Never mind the arrangement track in this picture. When trying to remaster this from the original the first time, I needed to separate the different parts to arrange them properly. When trying the second time, I had lost the original GarageBand file, so I has to take the track from my iTunes library to try to remaster it. If you think the TRAXXPAD elements were hard to remaster, try just a single track for the entire song. Nothing was working, no matter what I did.

AFTER:



Now you can see why I needed the arrangement track. This re-recording process was interesting since I got to really use the new Symphony Orchestra JamPack to give those sounds new life (as it were). You can see the difference between the electronic sounds and the orchestral sounds I mentioned earlier just by comparing the different parts of the arrangement. From top to bottom, the entire track got new synth parts, new guitar parts, new drum tracks, new flute track, new string & brass parts, and a new bass track; all with the same melody from the original piece. For the remastering, I adjusted my vocal preset slightly: I used the "Add Brightness" visual EQ to boost the clarity of all the tracks. Now, I've got two mastering presets for both vocal and instrumental songs.

Next week, I'll be covering A.I.M., the eighth track from Revolution Rising.]]> Fri, 25 Jun 2010 20:15:00 GMT E4AA8509418DD4A1183E4739617D7232 Stereotypical http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=319515 &nbsp;This week, I'll be focusing on Stereotypical, the sixth track from Revolution Rising. This track was originally intended for use by Brand New Relic. David, our keyboard player, had the idea of writing a song in the style of Rage Against The Machine. I penned some lyrics that fit the music we were writing and ran with the concept of addressing stereotypes. After we let David go, this song got shelved and never saw the light of day again until I decided to take it on for my solo project. BEFORE: The rap-like vocals were always part of the original concept. The layered vocals was an idea that came to me during my writing process, and that has become the structure for the chorus. For the TRAXXPAD elements, I wrote four different sequences that had a full range of sounds (guitar, synths, bass, and drums) that I could use independently from each other. Again, sound quality was lacking, but it gave me the right kind of direction I wanted. I added the club beat to boost the overall sound of the TRAXXPAD sequences. The Samoa Sweep synth track is one of my favorite synths to use in GarageBand, and I feel that it fit the sound this track needed. AFTER: With the re-recording process came a lot of rewriting. I still held to the original melodies and harmonies, but you can see how much fuller this song is now compared to the original. The club beat, Samoa Sweep synth track &amp; vocal tracks stayed, and several new tracks for guitar, bass, piano, synths, and drums were added. Effects were added to the vocal tracks to clean up the audio quality, and once again, I used the same vocal preset for mastering. Next week, I'll be focusing on Sic Vis Pacem Para Bellum, the seventh track from Revolution Rising.  This week, I'll be focusing on Stereotypical, the sixth track from Revolution Rising.

This track was originally intended for use by Brand New Relic. David, our keyboard player, had the idea of writing a song in the style of Rage Against The Machine. I penned some lyrics that fit the music we were writing and ran with the concept of addressing stereotypes. After we let David go, this song got shelved and never saw the light of day again until I decided to take it on for my solo project.

BEFORE:



The rap-like vocals were always part of the original concept. The layered vocals was an idea that came to me during my writing process, and that has become the structure for the chorus. For the TRAXXPAD elements, I wrote four different sequences that had a full range of sounds (guitar, synths, bass, and drums) that I could use independently from each other. Again, sound quality was lacking, but it gave me the right kind of direction I wanted. I added the club beat to boost the overall sound of the TRAXXPAD sequences. The Samoa Sweep synth track is one of my favorite synths to use in GarageBand, and I feel that it fit the sound this track needed.

AFTER:



With the re-recording process came a lot of rewriting. I still held to the original melodies and harmonies, but you can see how much fuller this song is now compared to the original. The club beat, Samoa Sweep synth track & vocal tracks stayed, and several new tracks for guitar, bass, piano, synths, and drums were added. Effects were added to the vocal tracks to clean up the audio quality, and once again, I used the same vocal preset for mastering.

Next week, I'll be focusing on Sic Vis Pacem Para Bellum, the seventh track from Revolution Rising.]]> Fri, 18 Jun 2010 18:00:00 GMT D0361F1B0098CAF7EC6B15AF12B0B0AE Violence & Justice http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=311557 &nbsp;This week will be focused on Violence &amp; Justice, the fifth track from Revolution RIsing. This particular song has always had a harder sound in mind since I first wrote the lyrics in 2003. It wouldn't see any music written for it until my first rehearsal with Brand New Relic in 2008. After a few months, we had something solid for the rhythm &amp; melody. Every show, we played this song and it was one of our personal favorites. However, after the split of the band in 2009, I was back at square one with this track. I was already in the middle of writing this album when I decided on rewriting this song to fit the overall sound. I tossed out most of the lyrics, and kept what would become the verse &amp; chorus. I tried to keep the original feel of the song by making this more trance-oriented to fit the rhythm. Eventually, this would become the fourth track since the flow worked nicely when following Believe. BEFORE: You'll notice that this track relied heavily on the original TRAXXPAD elements I had written. One of the many changes made was putting the guitar track toward the end and adding a synth pad harmony fill. I had to use the first synth loop I found when I first heard it. I loved its edgy feel, and I thought that it would be perfect for the intro to the song and choruses. When it came time to record the vocals, I rewrote a lot of the original song from Brand New Relic. I reversed the order so the chorus became the verse and vice versa. The chorus got a rewrite as well since I felt that some of the original lyrics were a bit cheesy.&nbsp;When it came time to master this track, the same problem persisted with trying to boost the sounds on the TRAXXPAD sequences. Nothing worked since the MIDI quality just does not compare to GarageBand. AFTER: During the re-recording process, I found that the piano and string arrangements were much more pronounced than before (which was a good thing considering that they were much weaker before). I made it a point to use the new symphony orchestra sounds since I now had more options for the kinds of sounds I wanted originally. I added another guitar track to work with the rhythm of the bass and drum tracks. I couldn't find a drum loop that fit the rhythm I needed, so I went and wrote out the original drum track as best I could. Finding a similar sound to what I used for the synth melody was difficult at first, but eventually, I found a sound that fit what I needed. Once the recording was completed, I used the same mastering preset for vocals. I added some reverb effects to clear up the muddy sound of the original vocal recordings as well. Next week, I'll focus on the sixth track from Revolution Rising entitled Stereotypical.  This week will be focused on Violence & Justice, the fifth track from Revolution RIsing.

This particular song has always had a harder sound in mind since I first wrote the lyrics in 2003. It wouldn't see any music written for it until my first rehearsal with Brand New Relic in 2008. After a few months, we had something solid for the rhythm & melody. Every show, we played this song and it was one of our personal favorites. However, after the split of the band in 2009, I was back at square one with this track. I was already in the middle of writing this album when I decided on rewriting this song to fit the overall sound. I tossed out most of the lyrics, and kept what would become the verse & chorus. I tried to keep the original feel of the song by making this more trance-oriented to fit the rhythm. Eventually, this would become the fourth track since the flow worked nicely when following Believe.

BEFORE:

Violence & Justice (Before Edit)

You'll notice that this track relied heavily on the original TRAXXPAD elements I had written. One of the many changes made was putting the guitar track toward the end and adding a synth pad harmony fill. I had to use the first synth loop I found when I first heard it. I loved its edgy feel, and I thought that it would be perfect for the intro to the song and choruses. When it came time to record the vocals, I rewrote a lot of the original song from Brand New Relic. I reversed the order so the chorus became the verse and vice versa. The chorus got a rewrite as well since I felt that some of the original lyrics were a bit cheesy. When it came time to master this track, the same problem persisted with trying to boost the sounds on the TRAXXPAD sequences. Nothing worked since the MIDI quality just does not compare to GarageBand.

AFTER:

Violence & Justice (After Edit)

During the re-recording process, I found that the piano and string arrangements were much more pronounced than before (which was a good thing considering that they were much weaker before). I made it a point to use the new symphony orchestra sounds since I now had more options for the kinds of sounds I wanted originally. I added another guitar track to work with the rhythm of the bass and drum tracks. I couldn't find a drum loop that fit the rhythm I needed, so I went and wrote out the original drum track as best I could. Finding a similar sound to what I used for the synth melody was difficult at first, but eventually, I found a sound that fit what I needed. Once the recording was completed, I used the same mastering preset for vocals. I added some reverb effects to clear up the muddy sound of the original vocal recordings as well.

Next week, I'll focus on the sixth track from Revolution Rising entitled Stereotypical.]]> Fri, 11 Jun 2010 22:00:00 GMT F5A2E09865B74A6E4397BA3BB9CA76F9 Believe http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=319544 &nbsp;This week, I'll be covering Believe, the fourth track from Revolution Rising. Another original track from this album, this is the first song that actually voices my religious preference as well as addresses the concept of the religious debate by asking &quot;what do you believe&quot;. Inspiration for this track came from a friend of mine who manages a local Christian retail clothing store in my neighborhood. We were talking about various types of Christian and secular music, and during our conversation, the lyrics and beats came to me. If I may be so bold to say, I believe that I received direct inspiration from God Himself &nbsp;for this track at that exact moment. BEFORE: There may not look like a lot is going on with this song, but most of the meat of this track is in the TRAXXPAD sequences. I added some guitar, synths, and Apple Loops to boost the overall sound of the track. The vocal tracks were very simple and straight forward since I knew exactly what I wanted to say and how to say it. If there is any proof that divine inspiration hits like a ton of bricks, it's this song. Very straightforward and point-of-fact, and exactly the way it should be. AFTER: With the expansion of this song came a huge rewriting process. Several new synth tracks, a new bass line, a new Apple Loop to compliment the original beat, and new vocal effects to clean up the audio quality. Once again, I used the same vocal mastering preset. All the improvements gave this song a much fuller sound that it so desperately needed to share my original vision accurately. Next week, I'll be focusing on Violence &amp; Justice, the fifth track from Revolution Rising.  This week, I'll be covering Believe, the fourth track from Revolution Rising.

Another original track from this album, this is the first song that actually voices my religious preference as well as addresses the concept of the religious debate by asking "what do you believe". Inspiration for this track came from a friend of mine who manages a local Christian retail clothing store in my neighborhood. We were talking about various types of Christian and secular music, and during our conversation, the lyrics and beats came to me. If I may be so bold to say, I believe that I received direct inspiration from God Himself  for this track at that exact moment.

BEFORE:



There may not look like a lot is going on with this song, but most of the meat of this track is in the TRAXXPAD sequences. I added some guitar, synths, and Apple Loops to boost the overall sound of the track. The vocal tracks were very simple and straight forward since I knew exactly what I wanted to say and how to say it. If there is any proof that divine inspiration hits like a ton of bricks, it's this song. Very straightforward and point-of-fact, and exactly the way it should be.

AFTER:



With the expansion of this song came a huge rewriting process. Several new synth tracks, a new bass line, a new Apple Loop to compliment the original beat, and new vocal effects to clean up the audio quality. Once again, I used the same vocal mastering preset. All the improvements gave this song a much fuller sound that it so desperately needed to share my original vision accurately.

Next week, I'll be focusing on Violence & Justice, the fifth track from Revolution Rising.]]> Fri, 04 Jun 2010 19:00:00 GMT C70754F45749656630AD3984A38908F1 3 June Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=310555 There have been several new developments throughout the past month, so here's the latest news:Perception, my new single, has been entered into the Toyota Music "Rock The Space 2" competition. All of the accepted entries will compete for a chance to win a signing deal with MySpace Records. You'll find my demo tape posted to my official website and at <a href="http://myspace.com/jwhitmanmusic">myspace.com/jwhitmanmusic.I was recently the featured guest on "Beyond the Rave", an electronica show hosted by Rene Moreno (a.k.a., iOh) on KPCRadio. I even got to perform a live set (which went really well in my personal opinion). I also have two tracks of mine (Violence &amp; Justice and Skeletons) in the general music rotation. You can take a listen to this station at <a href="http://kpcradio.com">kpcradio.com.A track of mine has been featured in a short film by Dystopian Snowmen Productions, an independent film company operated by a friend of mine from college. We're still in pre-production for their first feature film entitled Breaking Point, but the song that's currently featured is Peace of Mind for the film Father Figure. You can view this film and other projects from Dystopian Snowmen by going to <a href="http://www.youtube.com/user/DystopianSnowmen">http://www.youtube.com/user/DystopianSnowmen.I'm starting the process of writing and recording a new LP soon. So far, the working title is Head Trip, and I'm debating on what kind of overall sound I want for the album. I'd like to make this a more industrial rock kind of album, although one of the tracks I have planned is probably going to be more like a song by Massive Attack, but we'll see what happens.To give you some more background on KPCRadio, this is an internet radio station that's run and operated by students at Los Angeles Pierce College. They offer some quality programming based on their concept of "community first". Another friend of mine and a regular for the weekly open-mic session is one of the hosts for "Odd Jobs", a show dedicated to sharing the jobs you don't normally hear about daily in society. Needless to say, the staff are learning the trade of broadcasting well, and it's worth the listen during the fall semester (since they're currently down for the summer). However, you can listen to the station at any time since they play a constant rotation of songs from local artists in the SFV.&lt;/p&gt;That's all for this latest update, and more will follow when I know when voting will start for "Rock The Space 2".

  • Perception, my new single, has been entered into the Toyota Music Rock The Space 2 competition. All of the accepted entries will compete for a chance to win a signing deal with MySpace Records. Youll find my demo tape posted to my official website and at myspace.com/jwhitmanmusic.

  • I was recently the featured guest on Beyond the Rave, an electronica show hosted by Rene Moreno (a.k.a., iOh) on KPCRadio. I even got to perform a live set (which went really well in my personal opinion). I also have two tracks of mine (Violence & Justice and Skeletons) in the general music rotation. You can take a listen to this station at kpcradio.com.

  • A track of mine has been featured in a short film by Dystopian Snowmen Productions, an independent film company operated by a friend of mine from college. Were still in pre-production for their first feature film entitled Breaking Point, but the song thats currently featured is Peace of Mind for the film Father Figure. You can view this film and other projects from Dystopian Snowmen by going to http://www.youtube.com/user/DystopianSnowmen.

  • Im starting the process of writing and recording a new LP soon. So far, the working title is Head Trip, and Im debating on what kind of overall sound I want for the album. Id like to make this a more industrial rock kind of album, although one of the tracks I have planned is probably going to be more like a song by Massive Attack, but well see what happens.


To give you some more background on KPCRadio, this is an internet radio station thats run and operated by students at Los Angeles Pierce College. They offer some quality programming based on their concept of community first. Another friend of mine and a regular for the weekly open-mic session is one of the hosts for Odd Jobs, a show dedicated to sharing the jobs you dont normally hear about daily in society. Needless to say, the staff are learning the trade of broadcasting well, and its worth the listen during the fall semester (since theyre currently down for the summer). However, you can listen to the station at any time since they play a constant rotation of songs from local artists in the SFV.</p>

Thats all for this latest update, and more will follow when I know when voting will start for Rock The Space 2.]]> Thu, 03 Jun 2010 10:00:00 GMT 05582B6825F0E325A5D65B89D6E424D6 Rule Breaker http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=304348 &nbsp;This week, I'll be covering Rule Breaker, the third track from Revolution Rising. &nbsp;This track was my first attempt at trying to combine trance electronica with industrial rock. The lyrics and beats for this song were stuck in my head for quite awhile during my days with Brand New Relic, and I had planned to make this the single that would be the launch for my independent project that I was still developing at the same time. The concept for this song centered around the idea of telling my audience and the world at large &quot;I'm not what you're expecting me to be&quot;. The lyrics are very point-of-fact in stating that I don't conform and you can call me whatever you like. &nbsp;BEFORE: &nbsp; &nbsp; Along with trying to combine the TRAXXPAD sequences with Apple Loops and recorded elements, I tried to use some vocal effects for the first time (the echo vocals that you hear for the call-and-response structure of the verse &amp; chorus). Again, similar process which was good, but not good enough for what I wanted. On a side note, when I first found the synth loop that's become a highly recognizable part of the song, I fell in love with it since I felt that it fit perfectly with the sound I wanted for the track as a whole. I added the guitar and trance synth parts to boost the sound of what I already had written in TRAXXPAD. AFTER: After re-recording all the tracks from TRAXXPAD here, I added some new effects for the vocals (mainly some reverb effects) and I re-recorded the base vocals to give it more clarity. Another new addition was the bass line. The trance bass sounds that I normally use fit with the overall sound, and the echo effects give it a little bit more of a bouncy kind of feel. I finally got the beat sequences I originally wanted by re-recording the drum tracks. The structure is still the same, with the addition of the new parts and effects. Once again, I used the same mastering preset which boosts and adds clarity to the whole song. After all the work has been finished, it's now the track I had originally planned from the beginning. Next week, I'll be covering another original track entitled Believe, the fourth track from Revolution Rising.  This week, I'll be covering Rule Breaker, the third track from Revolution Rising.

 This track was my first attempt at trying to combine trance electronica with industrial rock. The lyrics and beats for this song were stuck in my head for quite awhile during my days with Brand New Relic, and I had planned to make this the single that would be the launch for my independent project that I was still developing at the same time. The concept for this song centered around the idea of telling my audience and the world at large "I'm not what you're expecting me to be". The lyrics are very point-of-fact in stating that I don't conform and you can call me whatever you like.

 BEFORE:
 
 

Along with trying to combine the TRAXXPAD sequences with Apple Loops and recorded elements, I tried to use some vocal effects for the first time (the echo vocals that you hear for the call-and-response structure of the verse & chorus). Again, similar process which was good, but not good enough for what I wanted. On a side note, when I first found the synth loop that's become a highly recognizable part of the song, I fell in love with it since I felt that it fit perfectly with the sound I wanted for the track as a whole. I added the guitar and trance synth parts to boost the sound of what I already had written in TRAXXPAD.

AFTER:



After re-recording all the tracks from TRAXXPAD here, I added some new effects for the vocals (mainly some reverb effects) and I re-recorded the base vocals to give it more clarity. Another new addition was the bass line. The trance bass sounds that I normally use fit with the overall sound, and the echo effects give it a little bit more of a bouncy kind of feel. I finally got the beat sequences I originally wanted by re-recording the drum tracks. The structure is still the same, with the addition of the new parts and effects. Once again, I used the same mastering preset which boosts and adds clarity to the whole song. After all the work has been finished, it's now the track I had originally planned from the beginning.

Next week, I'll be covering another original track entitled Believe, the fourth track from Revolution Rising.

]]> Sat, 29 May 2010 01:25:00 GMT 6C68CE233A97CFAA58880A6C80D9F732 Darkest Space http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=296045 &nbsp;This week, I'll be sharing the remastering of Darkest Space, the second track from Revolution Rising. &nbsp; &nbsp;Still considered as the second part of Prologue, this track holds true to its name by taking the listener on a journey through the deepest, darkest parts of our universe while maintaining a bouncy, up-beat feel. This track was moved ahead of Rule Breaker as more of an official opening track for the album, so it was important for me to uses this track as a lead-in to the more vocally-driven tracks. It was still catchy without needing the &quot;single&quot; kind of mentality behind its concept. &nbsp;BEFORE: &nbsp; &nbsp; &nbsp; &nbsp; The first thing you'll notice is that I tried to use more recorded tracks in GarageBand while still using the original TRAXXPAD elements. The TRAXXPAD sequences made up the base melody and rhythm while the string arrangements held to the original theme from Prologue. I added the synth pad fillers to give the track more of an ethereal and atmospheric feel. You'll also notice that the title of the track was originally labeled as &quot;Part 2&quot; when I tried to change the title of Prologue to Darkest Space, Part 1. In the process of working in the track title concepts used by Juno Reactor, I found that this did not fit the overall concept I wanted for the album. I eventually went with the more theatrical approach by separating both tracks as Prologue and Darkest Space. &nbsp;AFTER: &nbsp; &nbsp; &nbsp; &nbsp;Here, we see how separating and re-recording all the original TRAXXPAD elements can make the track more expansive. In order to maintain the atmospheric feel, I kept the string arrangements and synth pad tracks while adding in more synth lead tracks, a guitar track, a bass track with a more metallic sound to make this song more of an industrial rock track, and new drum tracks: a recorded track for the early build and base rhythm along with an Apple Loop beat to boost the recorded track. In the end, it still has the same melody and rhythm sections that the original mix had while sounding much clearer for each instrument. To add the finishing touch to the track, I mastered the song using the &quot;Instrumental&quot; preset I created. &nbsp; &nbsp; Next week, I'll be covering the first single for Revolution Rising entitled Rule Breaker. &nbsp; &nbsp; &nbsp;  This week, I'll be sharing the remastering of Darkest Space, the second track from Revolution Rising.
 
 Still considered as the second part of Prologue, this track holds true to its name by taking the listener on a journey through the deepest, darkest parts of our universe while maintaining a bouncy, up-beat feel. This track was moved ahead of Rule Breaker as more of an official opening track for the album, so it was important for me to uses this track as a lead-in to the more vocally-driven tracks. It was still catchy without needing the "single" kind of mentality behind its concept.

 BEFORE:
 
 
 
 
The first thing you'll notice is that I tried to use more recorded tracks in GarageBand while still using the original TRAXXPAD elements. The TRAXXPAD sequences made up the base melody and rhythm while the string arrangements held to the original theme from Prologue. I added the synth pad fillers to give the track more of an ethereal and atmospheric feel. You'll also notice that the title of the track was originally labeled as "Part 2" when I tried to change the title of Prologue to Darkest Space, Part 1. In the process of working in the track title concepts used by Juno Reactor, I found that this did not fit the overall concept I wanted for the album. I eventually went with the more theatrical approach by separating both tracks as Prologue and Darkest Space.

 AFTER:
 
 
 
 Here, we see how separating and re-recording all the original TRAXXPAD elements can make the track more expansive. In order to maintain the atmospheric feel, I kept the string arrangements and synth pad tracks while adding in more synth lead tracks, a guitar track, a bass track with a more metallic sound to make this song more of an industrial rock track, and new drum tracks: a recorded track for the early build and base rhythm along with an Apple Loop beat to boost the recorded track. In the end, it still has the same melody and rhythm sections that the original mix had while sounding much clearer for each instrument. To add the finishing touch to the track, I mastered the song using the "Instrumental" preset I created.
 
 
Next week, I'll be covering the first single for Revolution Rising entitled Rule Breaker.
 
 
 
]]> Fri, 21 May 2010 22:55:00 GMT 911CE977D964D7CDBF491105E0514798 Prologue http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=285677 &nbsp;To start the series properly, I'll begin with Prologue, the first track off of Revolution Rising. &nbsp; This track originally started out as the first part of a single track. Upon the writing process for the album, I separated this part from Darkest Space and made it into a single track while still maintaining the build to lead in to Darkest Space. I got them name for this track from many generic intro tracks I've heard from several different artists, and I thought it would fit the vision and message of the album overall. &nbsp; BEFORE: &nbsp; &nbsp; &nbsp; &nbsp; As you'll see from all of the &quot;before&quot; pictures to come, the gold tracks are the original TRAXXPAD elements, the green tracks are the recorded elements, the blue tracks are Apple Loops, and the purple tracks are recorded tracks with an external mic. You'll notice in this track that all I added to the TRAXXPAD sequence was a string arrangement and an electronic ambience track to fill the overall track more. The mixing was an issue considering that TRAXXPAD does not have the same quality of sound as GarageBand does for its MIDI sounds (a common problem you'll see in future entries). TRAXXPAD has more of a weaker sound, and trying to use the plug-in effects to clear up the audio just couldn't work no matter what I used. &nbsp; &nbsp;AFTER: &nbsp; &nbsp; &nbsp; &nbsp;For the &quot;after&quot; edit, I re-recorded, rewrote, and separated all the elements from the TRAXXPAD sequence. I had recently acquired a new JamPack for GarageBand (a Symphony Orchestra Pack), so this was the perfect time to put the new sounds to great use. First, I rewrote the drum track using some snare hits and snare rolls to give it the military snare sound I wanted originally for this track. I added some bass drum and gong hits to increase the dynamics of the drums as well. &nbsp; &nbsp; Second, I rewrote and separated the brass elements (one track for trumpet and trombone, and one for tuba; basically, separating higher sounds from lower sounds). I used an orchestral method called &quot;staccato&quot; for the brass and second string tracks. &quot;Staccato&quot; refers to the technique of using short yet powerful notes when playing a measure of music. &nbsp; &nbsp; Third, I added the same sequence I recorded for the brass to the second string track. I left the original string arrangement alone with the exception of changing out the sounds for a full string ensemble. The idea that I was using is while one track did the melody, the other would do the rhythm with the brass. &nbsp; &nbsp; Fourth, I augmented the rhythm tracks from the brass and second strings to add the piano track (which I thought was a nice touch from the original TRAXXPAD sequence). I went with a grand piano sound since I enjoy the fullness of sound that you get from a full size grand piano. &nbsp; &nbsp; Finally (which you wont' see in the picture), I added the preset mastering effects I created after I learned some valuable mastering skills from my friend and colleague Victory. The mastering effects I used are as follows: &nbsp;A multi-band compressor set to &quot;Fast &amp; Smooth&quot; An visual equalizer set to &quot;Add Brightness&quot; A standard compressor set to &quot;Dance Maximize&quot; An echo effect set to &quot;Ambient Delay&quot; A reverb effect set to &quot;Dance Reverb&quot; &nbsp;I saved all of these effects as an instrumental preset. This mix is designed to add more clarity to each track while boosting the overall volume of the master track without causing too much peaking on the volume.&nbsp;The preset effects are an easy way to use the same effects on every track without having to go through the long process of individually mixing and mastering the track one effect at a time.&nbsp; It does take some time in the beginning to get the mix right, but after you save the preset, it's a matter of loading it for the next track, and you're good to go.&nbsp;Gain levels may vary to give each track the right level so it can be heard properly (no matter what level of volume you prefer). &nbsp;Next week, I'll focus on the second track, Darkest Space.  To start the series properly, I'll begin with Prologue, the first track off of Revolution Rising.
 
This track originally started out as the first part of a single track. Upon the writing process for the album, I separated this part from Darkest Space and made it into a single track while still maintaining the build to lead in to Darkest Space. I got them name for this track from many generic intro tracks I've heard from several different artists, and I thought it would fit the vision and message of the album overall.
 
BEFORE:
 
 
 
 
As you'll see from all of the "before" pictures to come, the gold tracks are the original TRAXXPAD elements, the green tracks are the recorded elements, the blue tracks are Apple Loops, and the purple tracks are recorded tracks with an external mic. You'll notice in this track that all I added to the TRAXXPAD sequence was a string arrangement and an electronic ambience track to fill the overall track more. The mixing was an issue considering that TRAXXPAD does not have the same quality of sound as GarageBand does for its MIDI sounds (a common problem you'll see in future entries). TRAXXPAD has more of a weaker sound, and trying to use the plug-in effects to clear up the audio just couldn't work no matter what I used.
 
 AFTER:
 
 
 
 For the "after" edit, I re-recorded, rewrote, and separated all the elements from the TRAXXPAD sequence. I had recently acquired a new JamPack for GarageBand (a Symphony Orchestra Pack), so this was the perfect time to put the new sounds to great use. First, I rewrote the drum track using some snare hits and snare rolls to give it the military snare sound I wanted originally for this track. I added some bass drum and gong hits to increase the dynamics of the drums as well.
 
 
Second, I rewrote and separated the brass elements (one track for trumpet and trombone, and one for tuba; basically, separating higher sounds from lower sounds). I used an orchestral method called "staccato" for the brass and second string tracks. "Staccato" refers to the technique of using short yet powerful notes when playing a measure of music.
 
 
Third, I added the same sequence I recorded for the brass to the second string track. I left the original string arrangement alone with the exception of changing out the sounds for a full string ensemble. The idea that I was using is while one track did the melody, the other would do the rhythm with the brass.
 
 
Fourth, I augmented the rhythm tracks from the brass and second strings to add the piano track (which I thought was a nice touch from the original TRAXXPAD sequence). I went with a grand piano sound since I enjoy the fullness of sound that you get from a full size grand piano.
 
 
Finally (which you wont' see in the picture), I added the preset mastering effects I created after I learned some valuable mastering skills from my friend and colleague Victory. The mastering effects I used are as follows:
  •  A multi-band compressor set to "Fast & Smooth"
  • An visual equalizer set to "Add Brightness"
  • A standard compressor set to "Dance Maximize"
  • An echo effect set to "Ambient Delay"
  • A reverb effect set to "Dance Reverb"
 I saved all of these effects as an instrumental preset. This mix is designed to add more clarity to each track while boosting the overall volume of the master track without causing too much peaking on the volume. The preset effects are an easy way to use the same effects on every track without having to go through the long process of individually mixing and mastering the track one effect at a time.  It does take some time in the beginning to get the mix right, but after you save the preset, it's a matter of loading it for the next track, and you're good to go. Gain levels may vary to give each track the right level so it can be heard properly (no matter what level of volume you prefer).

 Next week, I'll focus on the second track, Darkest Space.
]]> Fri, 14 May 2010 21:35:00 GMT 8D1FA0389E3013D6B0F6AE3FF424E658 8 May Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=276885 While I'm watching NASCAR and killing time this weekend, I might as well post some more updates:I've been asked to help out an artist by the name of Robert Bonaparte. From what I've heard so far, he's got some decent sounding tracks, and he asked if I could help him improve his original track Strangers in the Morning. Check out his original tracks at <a href="http://www.reverbnation.com/cinderfellaman">http://www.reverbnation.com/cinderfellaman.Revolution Rising: Reconstructed is underway! I've posted the first two parts of this new blog series on my official website, and I've finished the first three tracks from the album. I'll be posting the next entry featuring Prologue next Friday.I'm still waiting to see what the returns are from EML Network, Vol. 1. Haven't heard anything yet, so I guess no news is good news for now.The sound design continues for Miss Julie. I'm still waiting to get a particular sound effects album, but I'm making some progress with the new GarageBand JamPack I recently picked up.Speaking of the JamPack, I've been working on updating a few old tracks which I've posted to my ReverbNation profile as "Fan Exclusive" downloads. Check out Down the Path to Destruction when you have the chance. It sounds a lot better than what it used to.It's been a few weeks since Bell, Book &amp; Candle closed, and so far, I'm just waiting on the next Upstairs Crows production to start (whenever that will be; I know about another run of The Last Days of Judas Iscariot that is planned for September).That's it on my end, so check <a href="http://jwhitmanmusic.com">http://jwhitmanmusic.com for the Revolution Rising; Reconstructed blog series! Just look under the "Blog Updates" sub-page!

  • Ive been asked to help out an artist by the name of Robert Bonaparte. From what Ive heard so far, hes got some decent sounding tracks, and he asked if I could help him improve his original track Strangers in the Morning. Check out his original tracks at http://www.reverbnation.com/cinderfellaman.

  • Revolution Rising: Reconstructed is underway! Ive posted the first two parts of this new blog series on my official website, and Ive finished the first three tracks from the album. Ill be posting the next entry featuring Prologue next Friday.

  • Im still waiting to see what the returns are from EML Network, Vol. 1. Havent heard anything yet, so I guess no news is good news for now.

  • The sound design continues for Miss Julie. Im still waiting to get a particular sound effects album, but Im making some progress with the new GarageBand JamPack I recently picked up.

  • Speaking of the JamPack, Ive been working on updating a few old tracks which Ive posted to my ReverbNation profile as Fan Exclusive downloads. Check out Down the Path to Destruction when you have the chance. It sounds a lot better than what it used to.

  • Its been a few weeks since Bell, Book & Candle closed, and so far, Im just waiting on the next Upstairs Crows production to start (whenever that will be; I know about another run of The Last Days of Judas Iscariot that is planned for September).


Thats it on my end, so check http://jwhitmanmusic.com for the Revolution Rising; Reconstructed blog series! Just look under the Blog Updates sub-page!]]> Sun, 09 May 2010 10:00:00 GMT 049C7ABC37B4F7C65B656C6625D615C5 The Revolution Becomes A Reality http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=273878 &nbsp;In 2007, I started writing my own music using a creator software called TRAXXPAD on my Sony PSP. After working on several tracks which would later become my first release, The Human Condition - EP, I thought about all the material I had written lyrics for but didn't have any music written down. The concept for Revolution Rising was still in the back of my mind, but I was still stuck on how to turn the idea into reality. &nbsp;In June of 2008, I joined the band Brand New Relic (the former bass guitarist is still a good friend of mine), and on the first day of rehearsal, I felt like my dream would finally become a reality. By combining my lyrics from old works-in-progress with what the band had been writing, we came up with some great ideas for original tracks. However, in June of 2009, we would split up, and once again I had lyrics, but no music. I decided then and there to focus my attention on writing my first full-length album, and the title was going to be Revolution Rising. &nbsp;But what was the concept of the album going to be? What kind of message did I want to give the listener? What tools would I need to write my masterpiece? I practiced up on using GarageBand, a Mac-based music creation program that used more sophisticated MIDI sounds for all the instruments that were preprogrammed into the application. I thought it would be interesting to combine what I wrote in GarageBand with the sequences I made in TRAXXPAD. I revived the sci-fi concept I originally planned, and focused the message around the phrase &quot;do what you feel is right within reason&quot;. I planned to give the overall sound a more direct approach by working in more industrial rock elements compared to the contemplative mentality and trance electronica elements of The Human Condition. For a period of four months, I went about reworking all the demos I had written and arranging them into a functional, full-length release. Once I felt all the tracks were complete, I released the album on September 22, 2009. My project that had been sitting on the shelf for over ten years had finally become a reality. Below, you can see the artwork that my brother helped me design. It fit the concept of the album perfectly &nbsp;since I used Mars as the foreground object with the rising Sun behind it. &nbsp; The Human Condition - EP, I thought about all the material I had written lyrics for but didn't have any music written down. The concept for Revolution Rising was still in the back of my mind, but I was still stuck on how to turn the idea into reality.

 In June of 2008, I joined the band Brand New Relic (the former bass guitarist is still a good friend of mine), and on the first day of rehearsal, I felt like my dream would finally become a reality. By combining my lyrics from old works-in-progress with what the band had been writing, we came up with some great ideas for original tracks. However, in June of 2009, we would split up, and once again I had lyrics, but no music. I decided then and there to focus my attention on writing my first full-length album, and the title was going to be Revolution Rising.

 But what was the concept of the album going to be? What kind of message did I want to give the listener? What tools would I need to write my masterpiece? I practiced up on using GarageBand, a Mac-based music creation program that used more sophisticated MIDI sounds for all the instruments that were preprogrammed into the application. I thought it would be interesting to combine what I wrote in GarageBand with the sequences I made in TRAXXPAD. I revived the sci-fi concept I originally planned, and focused the message around the phrase "do what you feel is right within reason". I planned to give the overall sound a more direct approach by working in more industrial rock elements compared to the contemplative mentality and trance electronica elements of The Human Condition. For a period of four months, I went about reworking all the demos I had written and arranging them into a functional, full-length release. Once I felt all the tracks were complete, I released the album on September 22, 2009. My project that had been sitting on the shelf for over ten years had finally become a reality.

Below, you can see the artwork that my brother helped me design. It fit the concept of the album perfectly  since I used Mars as the foreground object with the rising Sun behind it.
 
]]> Fri, 07 May 2010 01:42:36 GMT 83C695F2FCCB0311BB46A96B396D0515 The Back Story http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=273800 &nbsp;To start off my new project, it's best that I share the story of how my masterpiece (as I like to refer to it) came to be. &nbsp;In 1999, I had the idea of combining all the elements I loved from my personal interests into one artistic vision. It's no secret that I love science fiction, electronic music mixed with rock elements, and the entertainment business as a whole. But how would I combine these interests into a solid, cohesive vision? I started with trying to write a the story in novel form (originally, in three parts). I couldn't get the right kind of story together (since most of my ideas were a bit childish), so I tried to expand the idea toward possibly making it into a series of feature films. &nbsp;As I developed the story more, I started to focus on some original ideas for what the music would sound like. I looked thoroughly through my iTunes library of music at the time to try to find the right sound for the films. I came across several tracks by artsits like Korn, P.O.D., Static-X, and other artists that I thought would work to convey the message I wanted the story to have. I even went as far as selecting tracks by The Crystal Method that I thought would be a great film score. However, I did not know how to go about asking these artists to consider submitting music for a film that hadn't been written yet. Let's face facts: I was about 19-20 years old and extremely naive about how the industry worked. &nbsp;Eventually, I felt that I couldn't get this idea off the ground on my own, and I had no resources to make this a reality. I shelved it, hoping that one day, I would be able to resurrect this concept that had consumed most of my free time when I wasn't working.
 In 1999, I had the idea of combining all the elements I loved from my personal interests into one artistic vision. It's no secret that I love science fiction, electronic music mixed with rock elements, and the entertainment business as a whole. But how would I combine these interests into a solid, cohesive vision? I started with trying to write a the story in novel form (originally, in three parts). I couldn't get the right kind of story together (since most of my ideas were a bit childish), so I tried to expand the idea toward possibly making it into a series of feature films.

 As I developed the story more, I started to focus on some original ideas for what the music would sound like. I looked thoroughly through my iTunes library of music at the time to try to find the right sound for the films. I came across several tracks by artsits like Korn, P.O.D., Static-X, and other artists that I thought would work to convey the message I wanted the story to have. I even went as far as selecting tracks by The Crystal Method that I thought would be a great film score. However, I did not know how to go about asking these artists to consider submitting music for a film that hadn't been written yet. Let's face facts: I was about 19-20 years old and extremely naive about how the industry worked.

 Eventually, I felt that I couldn't get this idea off the ground on my own, and I had no resources to make this a reality. I shelved it, hoping that one day, I would be able to resurrect this concept that had consumed most of my free time when I wasn't working.

]]> Fri, 07 May 2010 01:05:00 GMT D67E73FBD91A06214A47A9A8075F2751 30 April Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=264847 Another post after such a long time, but there has been a lot going on, so allow me to fill you in on the details:The sound design for Miss Julie continues. I think I've got the theme track down, and I'm still looking for some sound effects that my director requested.My podcast Ventilations &amp; Collaborations has been cancelled. After some thought and soul searching about what I was going to do with it, I've decided that I can't afford the time to continue this project at this time. Hopefully, I can start it again in the future when I have a better plan of execution.EML Network, Vol. 1, which features Back in the Game, has been released internet-wide through several retailers including iTunes, Amazon, and Beatport. According to a message from the producer, it currently sits at #1 on the Juno Download charts.Bell, Book &amp; Candle, a stage production that I recently technically directed, has closed and from what I've been told, it got great reviews from our audience. I'm planning on posting another blog entry with pictures of the scene and lighting designs soon.I've sent some tracks to another director I'm working with for a short film he has recently finished. The rough cut has been posted to Youtube, so be sure to check out The Dilemma from Dystopian Snowmen Productions (be advised: it has a lot of foul language).I plan to start working on the full score of Breaking Point (the 1st feature film currently in pre-production for Dystopian Snowmen) soon. The title track has already been finished, and it has received many good reviews from across the net.

  • The sound design for Miss Julie continues. I think Ive got the theme track down, and Im still looking for some sound effects that my director requested.

  • My podcast Ventilations & Collaborations has been cancelled. After some thought and soul searching about what I was going to do with it, Ive decided that I cant afford the time to continue this project at this time. Hopefully, I can start it again in the future when I have a better plan of execution.

  • EML Network, Vol. 1, which features Back in the Game, has been released internet-wide through several retailers including iTunes, Amazon, and Beatport. According to a message from the producer, it currently sits at #1 on the Juno Download charts.

  • Bell, Book & Candle, a stage production that I recently technically directed, has closed and from what Ive been told, it got great reviews from our audience. Im planning on posting another blog entry with pictures of the scene and lighting designs soon.

  • Ive sent some tracks to another director Im working with for a short film he has recently finished. The rough cut has been posted to Youtube, so be sure to check out The Dilemma from Dystopian Snowmen Productions (be advised: it has a lot of foul language).

  • I plan to start working on the full score of Breaking Point (the 1st feature film currently in pre-production for Dystopian Snowmen) soon. The title track has already been finished, and it has received many good reviews from across the net.

]]> Fri, 30 Apr 2010 10:00:00 GMT 4EC7B23FD937F0B2D6F57F44A9C7B401 5 February Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=177757 A lot has been going on, and due to the massive amount of projects that have piled up, I've been lacking on posting routine entries here. I'll try to be brief (since there is a lot to cover):Back in the Game (feat. Victory) is included in the EML Recordings compilation album EML Network, Vol. 1. A release is planned for late March, and it will be available as a digital download through several online retailers.Collaborations are moving along with Doshus and Adam Pearson. All I can say is there is the possibility for another EP release with these new tracks, so we'll see what happens further down the road.Production is underway for Ghostly Encounters, a Halloween-themed full-length album scheduled for digital release on 12 October. The album will feature a combination of sound effects, a variety of trance &amp; industrial rock tracks, and a small selection of new single tracks.I have been named the technical director for a friend's stage production company. Our first production titled Same Time Next Year will open on 17 April and run through 25 April at Theatre Unlimited in North Hollywood.The script is still in development for Breaking Point, the film project that lead to my current full-length release of the same name. My part of the score has been completed for now, and I'll be working with my director on specific parts he needs when production starts on the film itself.

  • Back in the Game (feat. Victory) is included in the EML Recordings compilation album EML Network, Vol. 1. A release is planned for late March, and it will be available as a digital download through several online retailers.

  • Collaborations are moving along with Doshus and Adam Pearson. All I can say is there is the possibility for another EP release with these new tracks, so well see what happens further down the road.

  • Production is underway for Ghostly Encounters, a Halloween-themed full-length album scheduled for digital release on 12 October. The album will feature a combination of sound effects, a variety of trance & industrial rock tracks, and a small selection of new single tracks.

  • I have been named the technical director for a friends stage production company. Our first production titled Same Time Next Year will open on 17 April and run through 25 April at Theatre Unlimited in North Hollywood.

  • The script is still in development for Breaking Point, the film project that lead to my current full-length release of the same name. My part of the score has been completed for now, and Ill be working with my director on specific parts he needs when production starts on the film itself.

]]> Fri, 05 Feb 2010 12:00:00 GMT 94748F3903C8462401CE97551CE7A6AF 16 December Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=140565 I know it has been a few weeks since I last made a post here, but ti goes without saying that being the busy man that I am, some things get put behind. I like to think that I manage the best I can with my time and expertise, and the past few weeks have certainly put both to the test. Just to give you a little update on what has been happening:I've recently finished work on "The Last Days of Judas Iscariot" at The Raven Playhouse in North Hollywood. An old friend of mine was directing the show, and he asked me to help him out by taking on the role of Technical Director. Things were working out fine until the day of load-in, when his Assistant Director went over my head and proceeded to design the entire set himself (and poorly, I should add). Much to my dismay, we did the best we could to salvage the set, and thankfully, the cast saved the show from a possible disastrous demise (and the last minute addition of me running the sound board since the person assigned as run crew bailed out on my friend).I've also recently finished two new Nine Inch Nails remixes from the album Year Zero. This is something more for my spare time when I don't have any new material to write, and it gives me a chance to practice my art using material I'm familiar with. Besides, remixing songs by one of my favorite artists is definitely fun and challenging, so I say, why not do as many as I can?There is plenty more I can share about my work, and as anyone can see, I certainly enjoy what I do (with the exception of dealing with those who can't seem to understand their place in this profession). But I'm not bitter or angry: more like annoyed and frustrated, but thankfully, those moments pass as quickly as they occur, so there is no need to be upset over what is and how it will turn out in the end. All I can do is continue to focus on doing what I feel is right within reason.&lt;/p&gt;

  • Ive recently finished work on The Last Days of Judas Iscariot at The Raven Playhouse in North Hollywood. An old friend of mine was directing the show, and he asked me to help him out by taking on the role of Technical Director. Things were working out fine until the day of load-in, when his Assistant Director went over my head and proceeded to design the entire set himself (and poorly, I should add). Much to my dismay, we did the best we could to salvage the set, and thankfully, the cast saved the show from a possible disastrous demise (and the last minute addition of me running the sound board since the person assigned as run crew bailed out on my friend).

  • Ive also recently finished two new Nine Inch Nails remixes from the album Year Zero. This is something more for my spare time when I dont have any new material to write, and it gives me a chance to practice my art using material Im familiar with. Besides, remixing songs by one of my favorite artists is definitely fun and challenging, so I say, why not do as many as I can?


There is plenty more I can share about my work, and as anyone can see, I certainly enjoy what I do (with the exception of dealing with those who cant seem to understand their place in this profession). But Im not bitter or angry: more like annoyed and frustrated, but thankfully, those moments pass as quickly as they occur, so there is no need to be upset over what is and how it will turn out in the end. All I can do is continue to focus on doing what I feel is right within reason.</p>]]> Wed, 16 Dec 2009 12:00:00 GMT 6F81FF19B539F28C46984FA525C84E8F 10 November Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=120703 One whole month without posting a new update. Not like I haven't done that before, but needless to say, this time of year is the busiest for me, and trying to keep up with routines like posting new blog entries can be a little difficult sometimes.Now, I'm not going to go into the whole "check this out" promotional rant (although there is a lot going on with that end, so visit my <a href="http://jwhitmanmusic.com">official website to see all the new happenings with my solo project), but I do feel the need to reflect on what has passed recently:To start, I have been looking back at which songs have become successful and which have been sitting on the side lines (for lack of a better term), and what I've found is that the ones that are successful are the ones I did for other people and either got asked to share or thought it was a good business decision to do. I refer to Metro and Breaking Point of course, since these are the most popular tracks I have currently. For those who don't know, here is why:After re-writing Metro, it was requested on Jango (one of the leading online radio sites) and I was asked personally by Adam Bird, artist representative of the Independent Music Awards, to submit this track into the 9th annual competition.Breaking Point was originally written for a film project that a friend of mine is developing. He wanted some original music for his score, and I wrote this track at his request. After its completion, a new advertising campaign between ReverbNation and Microsoft Windows was planned. It would include established and independent artists from around the world, and submitted songs would be labeled as "sponsored" by Microsoft &amp; given away as free downloads. It took some time, but upon its release through the program, Breaking Point received 805 downloads; 100 of which were in the first two weeks!In retrospect, I find the success of these two songs to be surreal. It's no surprise that my work has received this kind of attention since I'm known for being the guy to get things done on time every time. It is just the nature of being a good technician. Where I'm surprised is the fact that here is art that I've created. It has been given great reviews by people I don't or barely know, and it stands on its own merit. I didn't make this happen: the people have made this happen, and it would seem that I have made decisions that have placed me at the right place at the right time in order for the people to make this all happen. Let's face facts: an artist is nothing without the respect &amp; criticism of their peers and the support of their fans. This is just the way it works. We can write all the material in the world and we can shell out thousands upon thousands of dollars to make sure it is seen &amp; heard, but who will listen? Who will critic the work? Who will share it with others? &lt;/p&gt;Therein lies the difference between success and failure as artists. If I have done my job right (as I hope I have), then those who will appreciate it will pass it on for others to enjoy.
Now, Im not going to go into the whole check this out promotional rant (although there is a lot going on with that end, so visit my official website to see all the new happenings with my solo project), but I do feel the need to reflect on what has passed recently:

To start, I have been looking back at which songs have become successful and which have been sitting on the side lines (for lack of a better term), and what Ive found is that the ones that are successful are the ones I did for other people and either got asked to share or thought it was a good business decision to do. I refer to Metro and Breaking Point of course, since these are the most popular tracks I have currently. For those who dont know, here is why:


  1. After re-writing Metro, it was requested on Jango (one of the leading online radio sites) and I was asked personally by Adam Bird, artist representative of the Independent Music Awards, to submit this track into the 9th annual competition.

  2. Breaking Point was originally written for a film project that a friend of mine is developing. He wanted some original music for his score, and I wrote this track at his request. After its completion, a new advertising campaign between ReverbNation and Microsoft Windows was planned. It would include established and independent artists from around the world, and submitted songs would be labeled as sponsored by Microsoft & given away as free downloads. It took some time, but upon its release through the program, Breaking Point received 805 downloads; 100 of which were in the first two weeks!


In retrospect, I find the success of these two songs to be surreal. Its no surprise that my work has received this kind of attention since Im known for being the guy to get things done on time every time. It is just the nature of being a good technician. Where Im surprised is the fact that here is art that Ive created. It has been given great reviews by people I dont or barely know, and it stands on its own merit. I didnt make this happen: the people have made this happen, and it would seem that I have made decisions that have placed me at the right place at the right time in order for the people to make this all happen. Lets face facts: an artist is nothing without the respect & criticism of their peers and the support of their fans. This is just the way it works. We can write all the material in the world and we can shell out thousands upon thousands of dollars to make sure it is seen & heard, but who will listen? Who will critic the work? Who will share it with others? </p>

Therein lies the difference between success and failure as artists. If I have done my job right (as I hope I have), then those who will appreciate it will pass it on for others to enjoy.]]> Tue, 10 Nov 2009 12:00:00 GMT C807482545850806608E938BD6F15325 29 September Update http://jwhitmanmusic.com/blogupdates.cfm?feature=905310&postid=87810 As the month is coming to a close, I have a chance to reflect on the latest updates that have happened:Breaking Point received 787 downloads, which is 687 more than than the cap limit given to us (the participating artists) for the Microsoft Windows Sponsored Song program!Revolution Rising, my new album (and my 1st full-length), is now available through all major online retail stores!Ventilations &amp; Collaborations is now available as a monthly podcast through <a href="http://jwhitmanmusic.com">my official website. Click on the link to visit the site, and check out the blog and podcast under "Blog Updates".Metro (feat. Samurai MX) has been entered into the 9th Annual Independent Music Awards, and it's currently in the preliminary judging phase. I'm hoping it will move on to the celebrity judging phase this November, so we'll see what happens.I've finished the score track and 2 remixes for the film project. No word yet on the progress of the script or when production will start.Along with new solo track I'm writing, I've got one that's awaiting vocals from a colleague of mine.I'm working on another collaboration between two friends of mine, and I've been asked to do two more.So outside of my routine work around the holidays, my solo project is expanding to include many different projects along with the success that has been generated with Metro and Breaking Point. Kinda surreal when you think about it, but it's always good to be busy doing what you love. I'm very proud of the work I've done so far, and I'm excited about what will happen with the I.M.A.s and the collaboration tracks currently in production.I have to say that I wouldn't be where I am today without the support of my family, friends, colleagues, and fans. I mean this sincerely when I tell you that this is as much your success as it is mine, and I'm glad that I have the opportunity to share this with you all. Blogged with the <a href="http://www.flock.com/blogged-with-flock" style="color: #999; font-weight: bold;" target="_new" title="Flock Browser">Flock Browser
  • Breaking Point received 787 downloads, which is 687 more than than the cap limit given to us (the participating artists) for the Microsoft Windows Sponsored Song program!
  • Revolution Rising, my new album (and my 1st full-length), is now available through all major online retail stores!
  • Ventilations & Collaborations is now available as a monthly podcast through my official website. Click on the link to visit the site, and check out the blog and podcast under "Blog Updates".
  • Metro (feat. Samurai MX) has been entered into the 9th Annual Independent Music Awards, and it's currently in the preliminary judging phase. I'm hoping it will move on to the celebrity judging phase this November, so we'll see what happens.
  • I've finished the score track and 2 remixes for the film project. No word yet on the progress of the script or when production will start.
  • Along with new solo track I'm writing, I've got one that's awaiting vocals from a colleague of mine.
  • I'm working on another collaboration between two friends of mine, and I've been asked to do two more.
So outside of my routine work around the holidays, my solo project is expanding to include many different projects along with the success that has been generated with Metro and Breaking Point. Kinda surreal when you think about it, but it's always good to be busy doing what you love. I'm very proud of the work I've done so far, and I'm excited about what will happen with the I.M.A.s and the collaboration tracks currently in production.

I have to say that I wouldn't be where I am today without the support of my family, friends, colleagues, and fans. I mean this sincerely when I tell you that this is as much your success as it is mine, and I'm glad that I have the opportunity to share this with you all.

Blogged with the Flock Browser
]]> Tue, 29 Sep 2009 10:00:00 GMT C6A3720166F1AF2CEB7F53E14A79745C