Tent Of Meeting is an album of old spirituals and hymns that I've been singing and playing in church for years. I love these songs. They are simple and direct pleas to God for resolve, for clarity, companionship, humility; for faith in things yet unseen. They have long been a salve for me in times of worry and strife.
I went through such a time recently. All I could think to do was to focus all my creative energies, such as they were, into engaging with these words. The melodies have remained largely in tact, but the arrangements are rather far removed from the traditional.
It is my hope that these songs may be of some comfort to you, as they have been to me. Someday I hope to make some contemplative music, suitable to accompany times of prayer and meditation, but this is not that record. This one is for the open road, for dancing, for getting lost in. I often find the catharsis that comes from that kind of music to be precisely what I need.
There are trying times ahead for all of us; certainly on a macro scale, but I mean more on a personal level. Upheaval is a part of life. When it comes, when nothing makes sense, put this album on and pray for the place "where all is peace and joy and love, and the soul of man never dies".
released January 13, 2017
Tent Of Meeting was recorded, mixed, and mastered by me (Daniel DeWitt) in my converted carport studio in Tucker, GA.
Bleeps, Bloops, and Bass lines were created using a Moog Sub 37 paraphonic synthesizer.
Acoustic Strums and Plucks were made with a 2006 Gibson J-45 Custom and mic'd with a Cascade Fat Head Ribbon Microphone with Lundahl LL2913 transformer. The signal went into a Universal Audio LA 610 mk ii preamp.
Electric Chunks, Stabs, and Licks were coaxed from a Fender American Special Telecaster with picks, fingers, and an E-bow. They were sometimes amplified with a Fender Champ clone I bought off eBay that was made by a Quaker in Pennsylvania, but mostly they just went straight into the LA 610 to avoid waking up my tiny humans.
Thumps and Thwacks were produced primarily with a Roland AIRA TR-8 Rhythm Performer, with some augmentation from Arturia's Spark 2 drum software.
Vocals originated from a human male, approximately 31 years of age, and were captured mostly using a Shure SM7B Cardioid Dynamic Microphone. Other microphones used include the M-Audio Sputnik Large Diaphragm Tube Condenser Microphone and that Fat Head from before. All vowels and consonants went through the LA 610 and were probably compressed more than they should have been because who doesn't love optical compression on a vocal?.
Boxes were stomped on throughout the making of this sonic document. These include but are not limited to offerings from the likes of Walrus Audio (Luminary), Strymon Engineering (El Capistan, Flint, Big Sky), Chase Bliss Audio (Tonal Recall), JHS Pedals (Colour Box), and Earthquaker Devices (Spires, Grand Orbiter, and Organizer). All of the aforementioned sound sources ran through these fine pieces of metal at some point along the way.
Everything went into a pot and got stirred around a whole bunch. That pot, which wasn't really a pot at all, was a Universal Audio Apollo Twin Duo and my MacBook Pro running Logic Pro X.
Mystical programs called plug-ins, which live inside of a computer, were used to shape, repair, sweeten, distort, and destroy all sounds. Goodhertz, Soundtoys, Valhalla DSP, Universal Audio, and Waves are companies full of magicians. Musician magicians. I could not make music like this without them.
Special thanks to:
My parents for supporting me always, and for giving me the Sub 37, the E-bow, the Flint, and every chance in the world to be successful in life.
My Phantom Memory Kickstarter backers. The J-45, the Tele, and the Quaker Champ are all in my carport studio because of your belief in me. You supported me in so many other ways, but those are the concrete things I've talked about here and this is already getting extremely long and out of hand.
The kind and lovely people at Veritas Church, the place I've called home for the last 10 years. I've had the pleasure and privilege of singing these songs with you, and I've grown in the faith because of your love and support and encouragement.
My daughters, Lois and Faye, who at some point along the way, figured out how to nap for a couple hours at a time and sleep through the night. In the most literal sense, I could not have done this without you learning that skill. That you occasionally forget that you know how to do those things is forgivable, as you are still pretty small. You blew up my world and are putting it back together in a much better way and I love you for that.
And to my wife, Mackenzie, who bought me the desk that serves as my studio hub and set it all up with my mom one day as a birthday surprise. I have an intense relationship with music, and you have been so gracious to me over the years. I don't deserve you or this life we have built. I would not trade it for anything.
Daniel's been playing rock and roll since 2002, first with the sort-of grunge, sort-of blues rock band Winston Audio, and
now on his own. His new album Tent Of Meeting, is a collection of spirituals and hymns, reimagined as electro funk jams. It's available now....more