I was lost on a lonely highway
Trying to find my place in the sun
And when I thought I’d found my destination
I found my journey had just begun
I wasn’t looking for adventure, oh no
I was just looking for a place to live my life
But I didn’t know which way was home anymore
I didn’t know which way was home
So I turned myself around
I did a U-turn on that highway
And I said to myself,
“Where are the mountains that I love?
Where’s the smell of rain in the desert?
And where are the people that I call my own?
Where are the people that I call my own?”
So I said to myself,
“I’m gonna find my way back home
I’m gonna find my way back home
I’m gonna find my way back home
I’m gonna find my way back home
Here I come!
“I’m gonna find those mountains that I love
I’m gonna find those people that I call my own
I’m gonna find my way back home”
About the Song
The guitar riff that that this song is based on was literally lost and found. I recorded a sketch of it on a cassette tape and mailed it to my cousin before I left on my mission, and then forgot all about it. After I got home my cousin sent the old recording back to me, and I relearned how to play it. (Thanks, Tom!) Here is that old recording, if you would like to hear it:
I had a basic idea of what the song was about, and had the second verse mostly worked out years ago, but I made a big breakthrough on the lyrics in 2015 when I was moving back home to Utah after living in the Midwest for 11 years. The first verse came to me at a rest stop west of Indianapolis. The lyrics capture a lot of how I felt at the time, but they don’t quite express how much I felt that I was guided by God to move when and where I did.
About the Recording
This was the quickest recording of the album so far, taking a little over a month from start to finish. I had initially planned for more aggressive drums and an electric lead guitar, but opted for the lighter acoustic sound.
The recording was done in Ardour on Linux Mint, in a downstairs room of my house that I recently claimed as my studio. The drums were programmed using Hydrogen, and a brush kit sound bank. This song was my first attempt to use Ardour’s MIDI function, which took a bit of time to figure out, but I am pleased with the result. I used the “rock organ” sound from Christian Collins’ GeneralUser GS soundfont.
About the Album
Only two more songs to record for this album! Here is my goal: Finish it during 2019!
Andrew Vavrek is a major proponent of the Free Music movement, and this song was released under a Creative Commons license which specifically allows redistribution and even derivative works. One of the rules of this license is that derivative works also use the same or equivalent license, and so my recording is licensed using the same. Feel free to share, redistribute, and make derivative works, as long as you give appropriate attribution.
My idea to record this song dates back to about 2007-2008, when I was reflecting on the healing power of forgiveness because of a few personal experiences. I took the liberty of altering the song’s lyrics to reflect this. (For more info, read my story about Dr. Stang.)
This song was next on the list for recording in 2008, but my music hobby was derailed and all but extinguished by my busy schedule that year (and for the next several years). I did program the drum part in 2008 using Hydrogen, and when I decided to recommence work on the recording in 2017 I found the old Hydrogen file in my archive, dusted it off, and used it with only minor changes. This was my first recording which used Ardour from start to finish, and I learned a lot about the software during the recording. The more I use Ardour, the more I like it.
About the Album
While working on this recording I also struggled with a decision about the album, which had the working title of “Moldy Oldies.” This is not the most attractive name, so I toyed with some other options. Eventually it dawned on me that I could simply re-open work on the Lost and Found album, and finish the project I gave up on so long ago.
I reorganized the website to merge “Moldy Oldies” with “Lost and Found” and I have updated the mp3 tags for Alpha, Lullabye, and Omega to reflect this. The track list is currently in flux, but is starting to take shape. Right now it looks something like this:
Standing On High
Check back here for updates or follow the blog to hear new songs as they are finished!
Last year in late November my family sang Away in a Manger together, and my wife commented on how good we sounded with the kids making up their own harmonies. She suggested that we should record it for our Christmas card and email it out to our friends and family.
I said, “Then we need a Focusrite Scarlett 2i2 USB audio interface!” She was taken aback at my sudden and specific declaration. So I showed her the website on my phone, which I happened to have open. “See? It’s The Best Selling USB Audio Interface in the World!”
“It sounds like you’ve been looking at this for a while,” she deduced, correctly.
“But clearly we really need one,” I insisted.
So it was settled, and I ordered it within the next week. It cost $151.19 from the Focusrite website, which I thought was a reasonable price. When it arrived we recorded our song and sent it out to our family and friends. The Scarlett 2i2 performed like a champ, and I was pleased with the sound quality of its input. Here is our recording:
A bit of back story: Through the early 2000’s I used my computer’s sound card as my audio input, with variable results. “Lint in my Pocket” and “Aurelia Aurita” were probably the worst results, as the dying old sound card produced a lot of crackling and popping on the recording. The other New Folder recordings were better because I had a new computer with a healthier sound card, and Lost and Found was better still because I started paying attention to the noise level and applying a graphic equalizer to filter out the worst of it. But right when I felt like my recording technique was starting to mature, three things happened to derail me for a decade: 1) Medical education took over my life like a cancer, sucking up all of my free time and strangling all of my hobbies, 2) my wife and I had a bunch of kids, and 3) I migrated to Linux.
The first two of these were certainly more important, but the third one was not inconsequential. I have been tinkering with Linux since 2000, and in about 2006 I made it my primary platform for home computing. I was a poor student, and Free Software was also generally free software. But audio on desktop Linux can be a bit temperamental, and I never could get my audio inputs working the way they worked on Windows or OS X. I did manage to use Linux applications to make music (the drum part from “Rising Sun” was programmed on Hydrogen, and I started playing with LMMS in about 2012), but these don’t require audio input to work. What I really wanted was to record guitar on Linux, and I didn’t have a good way to do that.
Enter the Scarlett 2i2. From what I read online, it was a low-latency USB audio interface with good Linux support. Several people on Linux audio discussion forums reported that the device worked for them, including a few using a software environment similar to mine (for the record: Linux Mint 17.1, Linux kernel 3.13.0-37-generic, Audacity 2.0.5, JACK 5, QjackCtl 0.4.5, Ardour 5.11.4).
I should add a disclaimer here that I am neither a sound engineer nor a software engineer. I am a mere hobbyist in both realms, knowing only enough to be dangerous, and I am really not an expert. But what my story lacks in authority it makes up for in authenticity, and hopefully some other mere mortal out there will be encouraged to learn that a knucklehead like me was able to figure this out. I will assume that you know the basics about JACK, and that you can install software packages on your system.
Using the Scarlett with Audacity
When the box arrived in the mail I eagerly opened it and plugged the Scarlett 2i2 in, but it took me a few minutes to figure out how to use it. For some reason I was expecting it to appear as an input/output device in JACK, and I was confused when nothing appeared in the qjackctl connections window. After a few minutes of poking around I stopped the JACK server and opened Audacity, which is my fall-back standalone audio application in Linux. JACK is nice, and is very powerful, but I admit that its full capabilities are a bit beyond me and I am really happy when I can just get it to work at all. But Audacity I can understand. All of its functionality is in one application, and no supporting software is required. I realize that the all-in-one approach is not very Unix-y but I am more of a pragmatist than a purist when it comes to software.
Audacity has its audio I/O configuration right on the menu bar, and the Scarlett 2i2 showed up in the drop-down menu automagically! I don’t like to use Audacity for big projects, but I used it for “Away in a Manger” because it worked and because I was in a hurry to get this song recorded before Christmas.
Using it with JACK
When I recorded the guitar parts for “Alpha” I wanted to use Ardour, which is a more serious tool. This is where I had to buckle down and figure out how to get the Scarlett 2i2 working on JACK. After reading several forums I stumbled upon the solution 2 or 3 screens into a comment thread, which described a setting buried deep in the qjackctl Setup configuration dialog, on the Advanced tab (see images). The Scarlett 2i2 shows up in the drop-down menu on the “Output Device” and “Input Device” settings.
Using it with Ardour
Next I had to connect the Scarlett 2i2 input to the Ardour track I wanted to record into. This took a bit of poking around and consulting the Ardour reference manual, but it turned out to be as simple as choosing “Inputs…” from the menu which appears when you right-click on the track name. This opens a new window, where you simply choose the “capture_1” input, as shown in the screen shot.
Quirks and Other Observations
While I had the Scarlett 2i2 designated as the input and output device in Jack and listened with my headphones plugged into the monitor output on the Scarlett it worked beautifully, but if I set the output device as the computer’s soundcard then I had intolerable latency. I don’t have external speakers on my computer (an all-in-one Dell Inspiron), so if I want to hear the song through the computer speakers I have to reconfigure JACK. This is easy to do by saving a configuration preset in qjackctl. Maybe I will invest in a set of external monitor speakers to plug into the Scarlett 2i2 so that I don’t have to dig through the settings every time I want to record something.
The overall verdict: The Focusrite Scarlett 2i2 is an awesome and affordable device which works well in a Linux environment once you learn how to configure JACK. It is now an indispensible part of my home studio, and I can’t imagine how I ever recorded without it.
My music has been mostly offline for the past decade or so, squashed nearly to extinction by my education and training, as well as my busy family life. But life has settled down a bit and I have started making music again!
I plan to post the cream of the crop from my older work, but for now I have just posted my new recordings, on the Moldy Oldies album page. There is a lot of nostalgia for me in these old songs.
“Alpha” was my first recording with Jim Ash, recorded 10/28/1994. This was my first music collaboration in the St. George music scene. The first version of the song was a keyboard sketch that Jim had recorded, which I improvised a guitar part for. Both of us revisited the song with derivative works in our garage bands over the next couple of years (The Tens – “A Perfect Day” and Claudia Doesn’t Like It – “Never Come Back To Me”/”Stay With Me”). This new recording includes a few quotes from these later versions of the song. I started this new recording in 2013, and that spring I visited my cousin Tom and showed an early iteration of the song to him. We recorded a few guitar tracks on top of it, and a riff he recorded that day also ended up in the final song. I used LMMS to make all of the electronic sounds, and my Telecaster to record the guitar parts.
“Lullabye” is a guitar song which I wrote in 2000, and then added a chorus in about 2006. This version was programmed on a software synthesizer, my first song made with Linux Multimedia Studio (LMMS). I first started working on it in 2012, and I finished it last year. I have loved analog synthesizer sounds ever since I bought those old “Switched-On Bach” records at a secondhand store when I was a teenager, so I tried to emulate some retro synth sounds on this recording.
“Omega” was a cheesy keyboard song I wrote in early 1995, as a sequel to “Alpha.” We originally intended to have Jim record a guitar part for it, but we never got around to doing that. In 1995-6 I reworked the song as a guitar grunge song which we played in Claudia, but I wanted to return the song to its original charm for this version. I did borrow a few ideas from the guitar version. This was programmed on LMMS.
I hope you enjoy the new recordings. More are on the way!