ok, here it is one more time.
i'm confident this is really done this time. i think i should have the mix up to date to july, 2002 before the sun comes up, but i'm not uploading that version. the final production decisions may take a little longer. but i'm still convinced that this gets done by the end of the day.
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the recording of this track over the spring of 2002 seems to have occurred in spurts, likely based around gaps in my school schedule. the drums in the first part of the track were sculpted together on the night/morning of march 7/8, which would have been a little after the track took it's initial folk punk form and centred on it existing in that way. the drums were sculpted from a mix of the initial drum machine part, real time ry30 square pushing, washes of digital noise and short, sculpted samples of greg playing in real time. the track seems to have been shaped into what it is during the week of april 15-22, a little after it was expanded by playing it as a classical piece, with the addition of multiple guitar and synth overdubs and all kinds of digital wave shaping through notch filters and time manipulation. i must have had that week off for exam related purposes; i probably had late exams that year. incomplete versions of the track exist that seem to have been burned around april 25, which are what the live version with sean would have been based upon.
the next spurt in recording was to add bass parts over the weekend of may 17-19. further drum and guitar parts were also added at this time.
i was experimenting with sequencing a rabit is wolf demo throughout may and ended up with two cd-r snapshots of the track at this point. these are the only instrumental versions from the period. unfortunately, the more complete version cannot be ripped from the cd properly - it was burned in three sections and normalized, which created volume gaps. it also has roughly 0.050 second null spots at the beginning and end of the three tracks, making it impossible to paste together properly. so, i've reconstructed a very close approximation of a late may mix out of a good sounding april mix. i've then used that mix to reconstruct a final instrumental version.
i was growing very insular during the period this was recorded, which was partially out of a decision to force myself to go straight edge in preparation for transgendered hormone therapy, which i was set to begin at the start of may. the bulk of the track was recorded before i went on hormone therapy. it may in some way reflect a sense of resigned preparation for a difficult process. but, it really comes more out of the isolation i had forced upon myself.
my parents were coming out of a difficult financial situation due partly to their own mismanagement and partly to my father coming out of a period of unemployment. he was completing a course in management over the period, which put me in the weird position of having to do his statistics homework for him. i was a second year honours math student at the time, so his basic stats assignments were not very challenging for me; conversely, he wasn't interested in the topic. i should probably have a diploma in business stats from the university of manitoba along with my math degree from carleton. but, who's counting, really? my math degree never got me anywhere in life (i haven't aspired to use it for anything....), but his management course opened up doors for him that have aided me. so, it worked out....
what this meant was that i found myself living in a split duplex around the beginning of 2002. for many years previously, i had lived in various basements and more or less had those basements to myself, merely having to tolerate the odd laundry run. the split duplex put me in the rather normal situation of having a bedroom upstairs, the privilege of having a studio downstairs and the inconvenience of having to follow scheduling rules. as i'd been so used to having total freedom in my scheduling for so long, i was unable to adjust to this.
if i were to come up and down the stairs in the middle of the night, i would wake my labrador retrievers up (who just wanted to come say hi) and that would wake up my parents. this was consequently forbidden. to get around this, i started sleeping in the afternoon, so i could go downstairs in the evening and not come back up until the morning. this left me without human contact for days or even weeks at a time. on long days, i would sleep on the carpeted floor of the studio. some days, i simply wouldn't sleep at all.
what you're hearing here is in many ways the culmination of this lack of human contact, complete abstinence from drugs and sleep deprivation - all in the context of the stress from simultaneously completing two university programs and preparing for a dramatic life shift. while the music was recorded in spurts, those spurts were emotional stress outlets. while parts of this may sound like my sanity was fragile while it was being created, the process of recording them is probably the only thing that allowed me to maintain it.
the final mix for this track was completed on nov 24, 2014, to mimic the version that existed immediately before vocals were added.
https://jasonparent.bandcamp.com/track/05-the-day-i-saw-you-cry-instrumental-version
