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Post by yotonic on Apr 15, 2017 0:33:42 GMT -6
I've met him a couple times he's a different cat, I honestly wasn't sure if he was pulling an "Andy Kaufman" or not. He certainly is fully immersed in his character, I hope he comes out the the other side in one piece. His band is great, and people who "get him" love him, like super fans. He has tapped into that cult following very quickly.
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Post by yotonic on Dec 1, 2016 20:47:25 GMT -6
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Post by yotonic on Nov 15, 2016 18:44:35 GMT -6
You're better off supporting the love they are showing and hope it opens other opportunities. Otherwise they aren't gonna put a ring on it. More upside enjoying the attention and spreading the love.
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Post by yotonic on Nov 13, 2016 3:08:16 GMT -6
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Post by yotonic on Nov 5, 2016 11:38:48 GMT -6
Their bass player is from my hometown. They just played my venue two weeks ago and absolutely killed it.
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Post by yotonic on Nov 3, 2016 15:14:13 GMT -6
The kid plays a few instruments well, sings pretty damn good, and seems to be writing pretty well. I just heard some work tracks of his from a buddy that works with him and I was impressed. Gonna see him live in December.
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Post by yotonic on Nov 2, 2016 20:55:25 GMT -6
Adam sounds great on this. A little more Southern Rock in a VanZant sort of way than Stapleton. Love where country music is heading- away from Bro and more towards soul.
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Post by yotonic on Nov 2, 2016 20:51:53 GMT -6
Boom. Great dudes .
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Post by yotonic on Oct 17, 2016 1:54:20 GMT -6
Ya exactly - clever. Lol
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Post by yotonic on Oct 15, 2016 2:07:19 GMT -6
Billboard seems to be making a living out of stating the obvious. I use Mediabase in my job, and you can hear rock, Americana, roots and everything else increasingly in the charts. Just saw the Brothers Osborne tonight, love these guys and their sound doesn't need a Billboard buzzword, customers "get it". And love it. www.mediabase.com/mmrweb/allaboutcountry/Charts.asp?format=C1RLMAO "That's an outsize performance for Americana, and represents more in sales than any other genre outside of rock (for which all four also qualify)"
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Post by yotonic on Oct 15, 2016 1:35:13 GMT -6
I saw Louis Hernandez CEO of AVID on Mad Money tonight. If you had any doubt about AVID's corporate mission it's all about the money and it was pretty clear ProTools is not where the money is at for AVID. It's all about broadcast, and this CEO captured the essence of a corporate carpet bagger. Here's some of their Wall Street street speak below. And honestly who buys this Cramer circus, it's the bro-country of financil talk shows such silly white noise. I'm surprised it's not a steady stream of Viagara, ETrade, and buy gold commercials. www.avid.com/static/resources/common/documents/whitepapers/Avid_Everywhere.pdf
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Post by yotonic on Oct 10, 2016 22:08:15 GMT -6
YES !!!!! Love the Giant Panda Guerilla Dub Squad T-Shirt Shawn Taylor is wearing. My boys GPGDS have the #1 reggae album in the country right now. Not bad for a bunch of New Yorkers.
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Post by yotonic on Sept 9, 2016 0:49:50 GMT -6
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Post by yotonic on Aug 30, 2016 23:29:04 GMT -6
Yeah most of us qualify as "old" on this board. So we all can point to amazing artists all throughout the 70s up to today that have released amazing albums cut with an Sm7 or Re20 - Stevie Wonder, Chicago, James Ingram, Incubus, Ray LaMontagne, Michael Jackson. But much like a Chris Stapleton today, those artists who are truly masters of their voice and at a level above others can sound world class on most mics because they are so in control of their voices, to the point where they can compensate for the different eq curves of the mics they are using. They have next level self listening skills and vocal control.
I love gear, but as I've said before you can have the absolute greatest impact on a vocal by "affecting it at it's source". Switching from an SM7 to a vintage U47 will have less impact on the recorded sound of a person's voice than technique. You are better off asking a singer to adjust his/her technique and sound. And while everyone can drive a car, I'm not interested in watching average folks race. Average singers don't need to worry about racing slicks, it's inconsequential when you're driving around your neighborhood.
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Post by yotonic on Aug 29, 2016 23:42:41 GMT -6
I just heard this on the James Cordon Show, there's a lot about it I like. It reminds me of Van Morrison, its unabashedly repetitive, and simple, but in a honest way and it's so infectious. Id rather hear this than more Katy Perry on the radio.
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Post by yotonic on Aug 21, 2016 23:39:32 GMT -6
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Post by yotonic on Aug 15, 2016 22:30:35 GMT -6
Of course it makes a big difference. If you've been making beats for 20 years then you must have recording artists whose sounds you've benchmarked. Obviously, because the SP1200 is a very specific sound and not a cheap unit by any means.
Nonetheless if you were influenced by low tech hip hop it all went out the window when the Dust Brothers and Daft Punk hit the scene. All of those artists have been using high end preamps (Neve 1081) for years. But much of that has to do with the fact that most of those artists have been making their own records for years in their own studios. Today "it might" be a waste of money for you if you aren't releasing records, simply because you could hit a local studio and mix down through their Neve sidecar or send your tracks away to have this done.
Beat based music whether it's house, pop, or hip hop relies heavily on the quality of bass and drum sounds. Skimping there is like a country artist using a Parker guitar for their aoustic parts - fail. Buy a Neve DPD 2 channel preamp with built-in digitl converter and run your drum tracks through it, it will make you a happy writer. Also only use analog gear there's enough rompler garbage out there to burn a hole in the ozone layer.
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Post by yotonic on Aug 9, 2016 23:07:35 GMT -6
In December, Consequence of Sound reported that Pharell Williams’ megahit, “Happy,” generated just $2,700 for 43 million plays on Pandora. You can make more money................________________________-
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Post by yotonic on Aug 9, 2016 22:36:29 GMT -6
Insanity. It's like Google, Spoitfy and Pandora, want to own our product and our ability to sell it. How in America could the government ever tell you that you couldn't share ownership in a piece of intellectual property. Just form a songwriting company or corporate entity that would own all the the songs with a partnership agreement for profit sharing and put all the song credits in one guys name.
Supposedly Google pushed this 100% ruling? And it was predicated by Pharell Williams' threat to sue YouTube? His songs are all over YouTube...
"The threat of a lawsuit against YouTube comes amid a broader debate about the rights of musicians in a freewheeling era of digital access to songs. In December, Consequence of Sound reported that Williams’ megahit, “Happy,” generated just $2,700 for 43 million plays on Pandora."
I have the feeling a lot more of these internet companies survive off of music and movies than they let on. Musicians should form their own web browser and block Google and YouTube from using member music and movies.
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Post by yotonic on Aug 6, 2016 21:33:53 GMT -6
Someone should find a way to take all of YouTubes advertising dollars. Or a way to encode songs that requires a password to listen to them. Might be time to treat songs like software.
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Post by yotonic on Aug 4, 2016 14:53:30 GMT -6
There's no way you're getting rid of your white background.
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Post by yotonic on Jul 27, 2016 18:10:16 GMT -6
Sandy Pearlman is why I'm a professional musician and composer. There'd have been no BOC without him, and I owe him gratitude for my life in the music business. He really helped shape the direction of the album rock era of recording. Very cool. I'm sure that meant the world to him. And your sentiments articulate the very soul of rock&roll, and the noble camaraderie that comes from working with other like minded people to create music that soothes the human psyche and leaves a roadmarker of our experience and time here on this earth. Thanks man. Glad to see it all ties back in the end.
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Post by yotonic on Jul 21, 2016 23:32:52 GMT -6
I have used U47, U67, C12, 251 Elam. Each mic has a different frequency pattern that highligts a different focal point of a persons register. This can accentuate vocal frye as in a C12 or breathiness (as mentioned) or lower warmth as in a U47 etc. The key is to find what is unique and the most emotive part of someones voice and to use the mic that accentuates it most effictively from an artistic perspective.
Sometimes you have to convince a singer "not to" use the mic that "fixes" what they don't like about their voice and to instead ignore that insecurity and use the mic that makes the greatest impact of their voice.
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Post by yotonic on Jul 21, 2016 17:58:13 GMT -6
U67 for your story telling vocal styling
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Post by yotonic on Jul 20, 2016 23:24:45 GMT -6
I'm glad I grew up in the 70s when there were just tons of kick ass singers. Most vocals had soul, grit, and power. It was awesome. I remember singing "Jeremiah Had A Bullfrog" as a kid to practice my rock voice. I don't hear much of this sort of male lead vocal at all today. Too bad. Guys back then seemed to get it just right.
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