What Trips Our Triggers / Floats Our Boats / Rubs Our Buddhas

Gary and 'Berta share a love for great music -- performance, listening, researching, hunting, gathering -- so our ultimate goal for Not Wired Right is for the audience to never be quite sure what's gonna come flying off the bandstand, music- or comment-wise. Just know that it's gonna be GOOD! We blend our vocals to bring you favorites from the 60s, 70s, 80s and 90s as well as more current faves as we learn them, build the backgrounds (see below) and polish them up for performance.

Our muses include a combination of excellent songwriters and skilled singers and musical artists, reflected in our songlist. All aspects of making music just thrill us right down to our cloven hooves.

The TECHNICAL Part, or:
"How In The World Do Two People Make All That Music?"

Contrary to what you might have heard, Not Wired Right does not use background tracks from Karaoke-Dokey, Tone Deaf Lepers or Elevator Music While You Wait. We create our background music tracks from scratch in our personal studio, AKA Gary's basement, usually crafting our own arrangements rather than duplicating the original release.

Our equipment is an amusing combination of old-school and new technology.

Our Roland MC-50 MIDI sequencer has been replaced with Sonar X2 music software from Cakewalk and an Asus computer from Tower Computers in St. Charles (and, no, they haven't paid us to say that). We still have a Roland JV-2080 sound module for the ?band? and an Ensoniq SQ2 as the MIDI controller.

Onstage, Gary uses the Ensoniq and either an Ovation Legend or an Adamas 12-string. ’Berta uses a Roland HandSonic HPD15 (a digital drum computer, which you can see in some of the band photos on this website. It's the pizza pan thingy 'Berta beats on during the show); an assortment of hand percussion instruments, and a 12-string Washburn. Gary also has an accordion, and, indeed, he's begun using it occasionally during performances. Thou hast been warned.

 

When we record, we start with a simple acoustic version of the song on either piano or guitar. This allows us to determine how we want to do the song, including who sings the lead, the key and what the rhythm track needs to sound like. Once we decide on an arrangement, we build and record a basic rhythm track as the backbone for the song structure.

Our new software allows us to record lots of tracks -- with 16 channels per track -- so we have lots of room to work in setting up the song. However, the JV-2080 can only handle 16 tracks, and can only play so many notes at a time, so we have to watch how ambitious we get.

The next steps, then, are to lay down a scratch-track for the melody, then record a (keyboard) bass track. After that, depending on what instruments we will be playing live, we record the background instruments and any vocals we think we need (yes, we can now mix MIDI and analog tracks!) During the recording process, we play along with what we've recorded so far to verify it's what we want, edit the tracks as required, and add more till we're done. When we’re satisfied, we set the levels so that all our backgrounds have similar volume levels. (Ain't technology wunnerful?)