Randall Hill - In Between
. Great quality recording, nice phases in the edit keeping the song fresh. A really tight band sound. The backing vocals add some nice touches too.
Slimming down the gear - I posted recently on this topic. Its a useful principle to bear in mind, the more options you have the slower your creative process may become. I'm with you on the Variax thing. I have the Variax accoustic 700 and the increase in leads you need stops you using it.
I reckon out of the dozen or so sounds it offers only 3 have any real use. BUT its great when I'm playing live as it does give some variation, no pun intended,
especially the switch between 6 and 12 string guitars, so I'll keep that. At home it stays in the bag.
. Ha! I did it for 9 years as an electrical engineer.
There's only one rule really. Do not melt the solder wire onto a cool contact. This can cause what is called a 'dry joint' where a blob of solder sits on the surface but hasn't bonded. Wrap the wire as you want then heat up the contact till it is hot enough to melt any solder you place on it. The only problems could be plastic wire sheathing shrinking back as the contact heats. But it should be manageable; the trick is to keep dabbing the solder wire onto the contact so it melts as soon as
the thing is hot enough.
Avoid cliches like the plague.
The advice is spot on, the irony is established artistes can use cliche and write appalling garbage. The worst culprit for this is Robbie Williams, his songs are just lists of cliches. But that originality is hard to achieve. I think the answer lies in writing from real life, reflect on what you actually experience. The imagination may resort to cliche to easily. If I say 'imagine a beautiful sandy beach' you think of the cliche of a an advert. If I say 'imagine Shanklin Beach on the Isle of Wight' then I have specific sights, sounds, emotions to pull into my writing; because I've been there.
Sugarspin (Jim Daly & KV
There For You. Nice to have a female vocalist around for a change. Another tight recording and a professional sheen. A strong moody atmosphere pervades, very indie feel. Killer guitar solo, well played.
Gear again. I got my new laptop up and running which pleases me. The solution was to tweak the operating system. Nothing difficult, I just googled some advice. I take the point about organising plug ins. I haven't felt too disorganised. As for presets, I did write them down once. I did it on a word doc and I can open that and check it. I wonder where it is? Truth is I probably don't have that
many plug ins. I tend to squander time looking for the right sound on Mixcraft's synths. Actually this discussion has prompted me. I must make a list of plugin sounds I like with a brief description and stick it on the wall. "I must go through this list" "They got a whole ton of these". Do you have a whole ton of time to get to grips with them? A lot of what is available might sound good in a sci fi movie,
but the musical value is probably limited.
Now here's a worthwhile project I'm on. I just ordered 2 CDs 'Now That's What I Call Country' (1 and 2). So I can hear new music and listen how modern country sounds, is mixed etc. So I can get my head round the genre. I did the same recently with modern UK pop. What I learned surprised me. I came to the view that I need to change my editing style, I got too much pointless fill in my mixes. Also the structure of a 'modern song' is nothing new, it's the edit that provides the change of phases. Chuck in some ear candy and I think I can develop a new and more contemporary sound.
Exactly What You Need - Hobey Kuhn. The points I just made are evident in this mix. It goes places, keeps changing. Less is more. Good work chaps.