I heard a while back that Nate Williamson and Mike Gregory (keyboards and bass respectively) were in a new band and I finally got to see their website today. Nate and Mike were both in The Formula Kid which was my band before I officially retired from rock stardom. Their band is called The Dysfunctional and also features the face-melting guitar stylings of our good friend Josh Kohn with Tony Vrooman on lead vocals. Tony fronted the legendary band Vitamen A. Mike Clement was the keyboard player in Vitamen A and also played in The Formula Kid for a short while and can be heard on the song Lunar Beams. Mike Clement and Josh Kohn used to play in a band together called Sonic Death Monkey (note the High Fidelity reference) and that band had Steve Nowels as its bass player. Steve Nowels was also the original bass player for The Drew Johnson Band and The Formula Kid.

It may be obvious already but if it isn’t – St. Louis has thousands of great bands but only about nine musicians.

Go check out The Dysfunctional website and dig what the boys are currently up to.

My song ‘Falling for Me’ is trudging along slowly if ever so unwillingly. ‘Falling for Me’ is my Jellyfish tribute in case you don’t remember. This song has presented some unique challenges that I am wholly unqualified to solve. But I’m learning.

The song has about 60 tracks. That’s about three times what I’m comfortable with. And that’s also far more than my PC is willing to juggle at one time. So that means there is a bunch of sub-mixing (bouncing multiple tracks to one track) that has to happen. I hate sub-mixing. Sub-mixing is like putting together an entire grandfather clock without instructions and then learning that you switched one of the 3/8″ screws with one of the 7/16″ screws and then having to take the entire thing apart and start over. Except with sub-mixing you actually put the entire thing together just to see if you can get away with switching the two screws. And you can’t.

This whole game is for the not quite express purpose of pleasing your processor by letting it run one track with the huge horn section instead of running 12 tracks – one for each horn. So you EQ, compress, and reverberate each individual track, get them mixed just so, and then bounce them to one track. In my case the process thus far would take approximately three weeks. Then the horns are all there on one track all nice and tidy when you realize that the french horn isn’t quite loud enough and the clarinet is a tad muddy. What I usually do at this point is yell for a little while, bang my mouse on the desk, and curse the day I learned to play guitar. Then I take the grandfather clock apart and forget which screws I switched in the first place.

And this is just the beginning of sorrows.