This is the casket elevator at White Mortuary, the place my dad worked for my entire childhood. It's ancient. Works on arm muscle and pulleys. Remember that diagram you saw in your junior high physics class, where the guy lifts a car with one arm because of the application of science? Well I do. Something about the more pulleys, the less effort. I don't understand how it all works. But I do remember the sound those huge gears made. Every time we visited him at work, my little brother and I would beg Dad to take us in the elevator down to the basement where the bodies were embalmed. Dad was cool so most of the time he said yes.
The platform shifted and creaked when the three of us took our places, the mediciney smell of the formaldehyde wafting up from below, making my little brother wrinkle his nose. Dad stood close to the gear side of the wall. First he would pull the frayed nylon rope until the attached grey metal bar swung freely. That was the elevator brake. Then he took hold of the black rubber cable, giving it a powerful downward tug. We would stare up at the strange machine overhead as the wheels began to groan and spin, each in proportion to its size. The descent of the platform was simultaneous, gaining speed as dad whipped the black cable faster and faster.
That he could power an elevator with his bare hands was just another of our dad's apparent superpowers. The times when my mom was there, she'd watch us giggle until we disappeared below the threshold, and then she'd take the short flight of stairs and be waiting there for us at the bottom. The stairs were way faster, but not fun. Looking back, I'm grateful my dad always had time to treat us to the mechanical elevator ride. It's not like it only happened once.
So today, recording, I made a discovery: the elevator might be charming, but it isn't really an ideal acoustic environment. The song I was recording - Nothing Really Matters - has kind of a brushy quiet guitar thing going. Quiet means the room doesn't matter as much, as long as you're close to the mic. But for some reason there was just this woofy sound no amount of EQ tweaking on the channel strip could ameliorate. After an hour of trying, I gave up and switched guitars. The Martin D-18V is my main instrument, but when I switched to the Gibson, all the problems disappeared. That Gibson is a student model and has about half the tone of the Martin. But in this case, half the tone was perfect.
After I recorded the guitar track, I sang a few passes. The song is all low register at the verse, with a few big loud notes in the chorus. Over time, I've tended more and more to sing quietly, but too much of the same thing is boring. Plus I'm trying to do things that scare me, and singing loud scares me. So I went for it.
I haven't listened to the takes yet, but it felt pretty good.