Things cost too much money.
This record being free makes it no less a labor of love, no less an investment for those who made it, no less a sacrifice for those that supported the laborers. The lack of cost may, however, make it better for you, the listener. For some reason scientific, one sense increases in sensitivity when another is disabled. So...we have disabled your sense of financial stress (which is particulary acute right now, we've noticed).

If you want to pay, you don't have to. If you still want to, do this:


The record was performed by Jeff Prosetti on drums, Doug Shank on bass, and Dave Fisher on the other stuff. The recording sessions were produced by everyone in Jeff's New Jersey basement, Jay Moran's recording space in New Jersey, Doug's living room in New York, and Dave's son's room in New Jersey. The engineering was done by Dave and Doug. The editing and mixing was done in Dave's bedroom in New Jersey, much to the chagrin of Dave's wife. The mastering was done by Carl Saff in Chicago.
The cover art is from somewhere in the midwest at the hand of Dave. The inside cover art is at the hand of Jeff.

Dave's notes on the origins of 'Transmission':

The whole record is a drawn out 'life flashing before my eyes' prior to the birth of my first child.
Elmira is a pure travelling song, meant to be sung in a cold car with a friend at the top of one's lungs. The type of song you sing with someone who you could picture being there for morning coffee 20 years from now. Irondequoit Bay is another area of New York state (as is Elmira), which somehow carries more American spirit for me in my memory than Connecticut ever did, where I spent my teenage years. There's something very American in these songs, that was important for me to try to draw out of the music and lyrics. Oughtta Be and Closing Time are really projectionist, as my son isn't born yet, but I'm starting to grapple with what kind of a father I'll be. Little did I know it's a daily learning process.
The songs fall out of logical sequence at this point, as I took a detour while writing the record by breaking my leg quite marvelously. Some oddball ideas slipped out, one of which was my love affair with the Carter Family music. I did an experiment to see what kind of song I'd write if I wrote lyrics like A.P. Carter, but music like Dave Fisher. Licensing, however, costs money, which is not free, so we're not 'officially' including it, but if you email us we could send it to you under some circumstance. Who Will Be is my imagined journey of a child's awareness from in utero to out the hatch. The concept is a little dopey, but it produced a fun song. Birthday and Hurry are also out of story sequence, as Birthday represents the moment before a birth when you feel like you might just run far away, and Hurry the moment after birth when you feel the same way. In all cases, you of course man up and do it.
Standing By started out as a very different song, but while adding the vocal tracks after having already recorded the other instruments, I was struck that there were much better lyrics to be had on this tune that fit the performances. This song has no real tie in with the rest of the record story-wise, but it somehow fits in the collection.
Shoreline is the inevitable 'hope we get there some day' song. It somehow feels like a celebration of uncertainty, which is pretty necessary when you have kids...
Finally, Cool Winter Morning is a snapshot, both sonically and lyrically of the winter following the birth of my son. The record needed a bookend, and this felt like the one to do. Our friend Dan Englert donated the sonic landscape tracks that pepper the ending.
Unfortunately, this record cost me a very dear friend, Jay Moran. The circumstances are personal, but I hope this record can heal what is has also hurt.
Recording was done using a variety of microphones, our favorites being the Sennheiser E409 Blackface, the Blue Mouse, the AKG D112, the Shure SM57, modified Oktava ML52IIs, and the AKG 414TLII. Mic pres were largely Seventh Circle Audio N72s and J99s, as well as EH 12AY7s and the FMR RNP. The lot was recorded either into a Roland VS2480 or into Pro Tools LE. Editing and mixing was also done with PTLE, with plugins only at mix from mostly Steve Massey, but a couple of Bomb Factory stand ins. Monitoring was done on Grado headphones and ProAc Studio 100 monitors powered by a Bryston 4B. Every performance was played through completely with no edits, the only edits were for timing correction, as the instruments were recorded individually at separate times.