how to sound like Steely Dan
how to sound like Steely Dan
Discuss.
Re: how to sound like Steely Dan
Start with a clothes pin on your nose? 
Re: how to sound like Steely Dan
Ok you wiseguys... I'll start with the serious content I guess... lol
Learning about the mu major chord was a good start in my research. I'm on my phone or i'd post a link... do a google or wikipedia search for it.
Learning about the mu major chord was a good start in my research. I'm on my phone or i'd post a link... do a google or wikipedia search for it.
Re: how to sound like Steely Dan
Okay, probably lots of extended chords in unusual sequences, cool drum fills in odd time signatures, Stratocaster, add the occasional Chuck Rainey along with Steve GAdd9 (that's a special drum chord 
) and mix using premium analog gear, like Neve, SSL, Studer, etc. Is that better for a fresh start? 
) and mix using premium analog gear, like Neve, SSL, Studer, etc. Is that better for a fresh start? 
Re: how to sound like Steely Dan
Well, your just reeling in the years!
emac.
emac.
Re: how to sound like Steely Dan
ha ha, thanks Jeff! I think you covered it pretty well!
Well, I don't have all those things, obviously...
So, I've started with a nice tight drum machine pattern, set to "studio kit." I've thought like a pro drummer is forced to think, and avoided making more noise than necessary when it comes to fills, so they are mostly just concise snare hits with a quick flick of the hi hat pedal. There is one spot where I hit a tom or two.
I added as much real percussion as I: 1) own, and 2) could cram in: cowbell, plastic egg shaker, triangle, china cymbal
For chords, I'm starting off with an intro that is the same as the chorus, kind of a Fm | Dbmaj7 Bb7 thing, with an accent as an obvious nod to "Hey Nineteen," and a double use of the Neapolitan sixth chord (Gb maj9 followed by Cb dom9).
The verses get more complicated... kind of a Bbm with a descending line a la jazz standard "My Funny Valentine." There is a nice F7+5 I threw in for fun. In context, it sounds eerily normal. The verse also has an odd bar of 3/4 thrown in the middle as it temporarily transitions into Abm.
I wrote the chords on my Fender Rhodes, so I laid down that track first. I'm pretty proud of myself on this one; instead of my usual method of recording the Rhodes via its accessory line out (which goes to a parallel patchbay and back in the unit so I can use the suitcase amp to monitor while tracking without worrying about latency), I've taken the extra step of miking the cabinet as well, and blending the two signals. The big bonus here is, I get to take advantage of the Rhodes' vibrato unit. WHAT A DIFFERENCE!!!! Can't believe I was too lazy to do that until now!
With the Rhodes down, I moved to bass. The 4002, as usual, made it very easy with its XLR output going to a preamp with just a touch of compression. I split the signal post-tracking, so I could "crossover" it, and added a little more compression to the part below 1000Hz, and then some straight limiting to the above 1000Hz part to eliminate some nasty, buzzy, farty noises.
Now guitars. I don't have Denny Dias or his Tele, so I decide to make do with a '65 Mustang and a '97 Riviera. The Riviera (as mentioned in another thread) outshines the Mustang (no surprise really) so I decide to use the Riv exclusively. For what would turn out to eventually be all four parts.
About those four guitar parts....
First, I'm thinking of a ripping intro lead like "Reelin' In The Years," so I work out a little line in thirds. The higher part plays better an octave down, so I do so, giving us a part in sixths. I add a third part in the bridge, doing a funky rhythmy chanky thing on the high three strings (GBE) around the 10th-13th frets. After lots of listening to "Two Against Nature" many times in the car as part of this study, I realize a meager three parts ain't gonna cut it. So I add what was missing: a little single line midrange part through an original 70's SmallStone phase shifter, and some delay via ProTools plug-in.
I also added a synth part that enters at the bridge. I tried to find a sound I thought could have been made by studio keyboardists in 1978.
Now we're getting somewhere. Lyrics are the next huge part to tackle. I've studied their lyrics, and others' studies of their lyrics, and come to the conclusion that I need to include most or all of the following elements: sex, drugs, jazz, crime, more drugs, the name of a place (in this case Crystal City), a long complicated scientific word, things a beatnik would think, the name of a cocktail, all with a perverted twist somewhere, a la "Cousin Dupree" or "Gaslighting Abbie."*
*btw I just learned what gaslighting is. That's messed up!!!
Aural results soon, I hope. Back to working on lyrics...
Well, I don't have all those things, obviously...
So, I've started with a nice tight drum machine pattern, set to "studio kit." I've thought like a pro drummer is forced to think, and avoided making more noise than necessary when it comes to fills, so they are mostly just concise snare hits with a quick flick of the hi hat pedal. There is one spot where I hit a tom or two.
I added as much real percussion as I: 1) own, and 2) could cram in: cowbell, plastic egg shaker, triangle, china cymbal
For chords, I'm starting off with an intro that is the same as the chorus, kind of a Fm | Dbmaj7 Bb7 thing, with an accent as an obvious nod to "Hey Nineteen," and a double use of the Neapolitan sixth chord (Gb maj9 followed by Cb dom9).
The verses get more complicated... kind of a Bbm with a descending line a la jazz standard "My Funny Valentine." There is a nice F7+5 I threw in for fun. In context, it sounds eerily normal. The verse also has an odd bar of 3/4 thrown in the middle as it temporarily transitions into Abm.
I wrote the chords on my Fender Rhodes, so I laid down that track first. I'm pretty proud of myself on this one; instead of my usual method of recording the Rhodes via its accessory line out (which goes to a parallel patchbay and back in the unit so I can use the suitcase amp to monitor while tracking without worrying about latency), I've taken the extra step of miking the cabinet as well, and blending the two signals. The big bonus here is, I get to take advantage of the Rhodes' vibrato unit. WHAT A DIFFERENCE!!!! Can't believe I was too lazy to do that until now!
With the Rhodes down, I moved to bass. The 4002, as usual, made it very easy with its XLR output going to a preamp with just a touch of compression. I split the signal post-tracking, so I could "crossover" it, and added a little more compression to the part below 1000Hz, and then some straight limiting to the above 1000Hz part to eliminate some nasty, buzzy, farty noises.
Now guitars. I don't have Denny Dias or his Tele, so I decide to make do with a '65 Mustang and a '97 Riviera. The Riviera (as mentioned in another thread) outshines the Mustang (no surprise really) so I decide to use the Riv exclusively. For what would turn out to eventually be all four parts.
About those four guitar parts....
First, I'm thinking of a ripping intro lead like "Reelin' In The Years," so I work out a little line in thirds. The higher part plays better an octave down, so I do so, giving us a part in sixths. I add a third part in the bridge, doing a funky rhythmy chanky thing on the high three strings (GBE) around the 10th-13th frets. After lots of listening to "Two Against Nature" many times in the car as part of this study, I realize a meager three parts ain't gonna cut it. So I add what was missing: a little single line midrange part through an original 70's SmallStone phase shifter, and some delay via ProTools plug-in.
I also added a synth part that enters at the bridge. I tried to find a sound I thought could have been made by studio keyboardists in 1978.
Now we're getting somewhere. Lyrics are the next huge part to tackle. I've studied their lyrics, and others' studies of their lyrics, and come to the conclusion that I need to include most or all of the following elements: sex, drugs, jazz, crime, more drugs, the name of a place (in this case Crystal City), a long complicated scientific word, things a beatnik would think, the name of a cocktail, all with a perverted twist somewhere, a la "Cousin Dupree" or "Gaslighting Abbie."*
*btw I just learned what gaslighting is. That's messed up!!!
Aural results soon, I hope. Back to working on lyrics...
Last edited by jdogric12 on Fri Jun 03, 2011 4:32 pm, edited 1 time in total.
Re: how to sound like Steely Dan
Donald Fagen put out a wonderful video discussing the types of chord substitutions and progressions he is fond of. The video deconstructs several SD and Donald Fagen classics such as:
Chain Lightning
Josie
On The Dunes
Teahouse on The Tracks
The name of the video is "Concepts For Jazz/Rock Piano" I recommend it to people interested in the theory behind the Steely Dan sound.
Chain Lightning
Josie
On The Dunes
Teahouse on The Tracks
The name of the video is "Concepts For Jazz/Rock Piano" I recommend it to people interested in the theory behind the Steely Dan sound.
Hal Hawkins
Twitter - http://www.twitter.com/HalHawkins
Facebook - http://www.facebook.com/hal.hawkins
Twitter - http://www.twitter.com/HalHawkins
Facebook - http://www.facebook.com/hal.hawkins
Re: how to sound like Steely Dan
Cool, thanks Hal!
Re: how to sound like Steely Dan
I thought that was a Moose Tracks chord.jdogric12 wrote:double use of the Neapolitan sixth chord (Gb maj9 followed by Cb dom9).
Re: how to sound like Steely Dan
Moose Tracks? I don't get it. 
Anywho...
"Crawling Out of Crystal City" is now up! Enjoy!
www.metrosongs.org
Anywho...
"Crawling Out of Crystal City" is now up! Enjoy!
www.metrosongs.org
Re: how to sound like Steely Dan
Think........Ice Cream!jdogric12 wrote:Moose Tracks? I don't get it.
Neapolitan, Moose Tracks, Mint Chocolate Chip.......hungry yet?
Re: how to sound like Steely Dan
Oh, Jeff, what will we do with you?
Re: how to sound like Steely Dan
jdogric12 wrote:
Oh, Jeff, what will we do with you?