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Found 87 results

  1. https://soundcloud.com/tim-makhauri/loud-and-clear-demo-3-better/s-6LqF5 Please could you critique my instrumental demo. This is the second song I've worked on to record, and am only in the early learnings of production. Notes: - Guitars are all recorded Amp-to-mic - Drums are all software
  2. Critique my song please

    Link to song: https://soundcloud.com/tim-makhauri/barbie-alt-demo-2-new-drums Please could you critique this early demo version of my song. A few notes: • This is an instrumental version that will have vocals eventually, and has not been properly mixed (have never mixed before and am looking for advice) • This song was created in GarageBand. I am a of noob when it comes to recording, and have never mixed or used production software before. • Guitar was recorded live via a Yeti mic. Certain guitar tracks have GarageBand software amps on them. All drums are made using GarageBand. • Please give as detailed feedback and advice on how to fix and where to learn please!
  3. Grand Oak Tree

    Not many words but it fills my new song and I'd like to keep it minimal and to the point. Question: "dwell ON or IN the past", it seem to work either way? Cheers, Geir Grand Oak Tree GER(c)2017 I have no plans for tomorrow and I don't dwell on the past I try to live in the moment, life is moving too fast I trust no so-called leaders, I seek no higher ground But I believe in the people and the world turning 'round I've found my spot in the shade, under a Grand Oak Tree It's been there for many years and it will outlive you and me You think you know all the answers and you know right from wrong Too shame you're such a fool, too shame you're in my song I've found my spot in the shade, under a Grand Oak Tree It's been there for many years and it will outlive you and me
  4. 1980

    Here it is. No words yet. I think most of the music is done. I just got done working on it, so I need to come back with fresh ears and double check my work.
  5. Linnon - Sometime

    At the moment working with an amazing singer \ songwriter with dark soulful female vocals and unique style, Linnon https://soundcloud.com/linnon/ Think this track almost done and should be ready after a few tweaks, Just let me know if you would have any thoughts
  6. The Storm

    So, another love story. Please have a read and tell me what you think of it. Also look at the word 'goof', does it make sense to you? To me goof is something dark .. a chill or something abstract.. Cheers, Geir The Storm GER(c)2017 She said she loved me I loved her too But love became hate out of the blue She sometimes broke things records and stuff I said I hated her just as much A touch on my shoulder a kiss on my neck I tried to stay cool but I was a wreck Oh love We started out so nice like lovers do A roof and a bed and a blind cat called Lou Living on white bread and the cheapest wine It's hard to believe but we made it just fine Then came the storm and ripped off the roof Blew out delusions and let in the truth Oh love Goodbye 'miss trouble' we have come to an end The wind won't blow our way Even the blind cat found a new trace We both knew he wouldn't stay
  7. JAREK - Shore

    Hey, this is a song that I wrote for my band. We're really keen to write more, so any suggestions or criticisms are greatly appreciated. You can find it on both Soundcloud (below) and YouTube. Please give feedback Thanks.
  8. Dear all, I am a singer-songwriter from New Delhi, India. I write for and perform with a voice ensemble by the name of The Manta Sidhu Ensemble. The music leans towards folk-pop. I would love to have you all take the time to go through my music and offer comments, feedback, suggestions...so I may integrate them in my forthcoming collection of songs. Many thanks and warm regards.
  9. Stable Minus Sport

    Here it is
  10. Crack In The Sky

    PLEASE SCROLL DOWN FOR LATEST VERSION Hey all. Please have a read through and feel free to correct, advice, throw in alternatives, anything! Thank you. Passengers GER©2017 A1 The road was dark and slippery And the driver high on drugs It happened so quickly In the blink of an eye No regrets, no feelings But a crack in the sky A2 Smells and noises and flashing lights Lots of people running ‘round Confusing, disturbing What is going on? His body all messed up Is he really gone? B Oh, what a scene C Mind the ghost observing it all Upside down like a fly on the wall In between and far behind What is real is in your mind A3 Ashes to ashes, dust to dust So unreal, poor family It happened so quickly In the blink of an eye No regrets, no feelings But a crack in the sky C Mind the ghost observing it all Upside down like a fly on the wall In between and far behind What is real is in your mind D We are all passengers We are all passengers We are all passengers We are all passengers
  11. Savanna Shai

    Hi, I produced this album with Savanna Shai titled "Ghosts Of Denver's Past" You can find it on itunes etc, the album came out beautiful and Savanna is such a great story teller and songwriter Here is the video for the song Midwestern Lovin' Man
  12. My album called Shrink

    Hi, I have an album I self produced and wrote, etc and it is available here. Feel free to explore my other instrumental album on bandcamp as well:) Some songs are a bit sad and that's the point. The album is called shrink for a few reasons. One was I took care of my Mom while she was dying of cancer and I just saw her shrink more and more each day. Also because in order to heal I had to be my own shrink and work through a lot of things. It's not all sad and there are moments of breakthroughs and internal hope. Here it is, if you enjoy the music please support as it's only 5$ , thank you, Dallon Ghan https://dallonghan.bandcamp.com/album/shrink
  13. “Too Small To Save" was written & arranged in 2008….recorded & mixed in early 2009. Those original recorded tracks were edited & remixed in 2014. That 2014 version is the used for this SBtS video. The Idea My songs typically evolve from…. - a chord progression - a riff/pattern - a section of melody - a central theme In this case, it was 2 of those elements combined. 1) A guitar progression (riff/pattern) 2) A central theme, which was also served as the title (hook) In songwriting, it’s essential for the subject matter to blend with the musical feel. In other words, one should complement the other. In my humble opinion, that is the case here. Subject Matter This particular lyric hit pretty close to home. It was loosely based on my wife’s employer, who shall remain nameless. The lyrical message was inspired-by…and based-upon changing conditions following the financial collapse of 2008. Simply put, none of those changes benefited the employees & most didn't bode too well for the financial future of the company. Much to my surprise, the company survived. The employees however, were a different story. Most of what they lost was never returned. The financial recovery that followed did little to benefit them. The title “Too Small To Save” was applicable to both employer & employee. At the time this song was written, both fit the description…seeming doomed to failure. As you may have guessed, the title was also a tongue & cheek play on that infamous 2008 headline - “Too Big To Fail”. While banks & auto manufacturers were too big to fail, small companies & employees were “Too Small To Save”. Essentially, the yin & yang of monetary policy. Structurally, the lyric is brief…with a generous dose of repetition. The message is heavily reliant on imagery & metaphors, which is not typical of my lyrics. Because the subject matter was both current & dismal, I chose an artsy lyrical format. Lyric Too small…too small to save Just another business crushed by the wave One more tiny fish…too small to save A victim…of the economy No golden parachute waits for me Almost 80 years business don’t count these days No friends in high places…too small to save Last call…for 401Ks Get ‘em while you can…they’re fadin’ away It’s closin’ time cause we’re…too small to save Copyright 2008- Tom Hoffman Song Structure Introduction / Verse-Refrain / Instrumental Verse-Refrain (guitar solo) / Bridge / Verse-Refrain / Ending Musical Fundamentals Musically, “Too Small To Save” was built around a single guitar progression. It’s the one you hear being played throughout the intro & verse-refrain sections. The song is set in the key of Aminor….BPM 100 Genre-wise, I’d have to call it blues-rock. This arrangement is guitar-based, utilizing 3 separate mono tracks. My Gibson SG was used for two of those. The 3rd was a mixture of Strat & SG…with Strat being chosen for the bridge section. Its’ single coil pickups were useful in creating thinner sounding guitar textures. - One of those 3 tracks contains intermittent lead guitar. - The other 2 are the primaries, heard throughout the song. The verse/refrain sections consist of 1 guitar playing the primary progression, while a 2nd guitar plays 3-note power chords (I-V-octave). The bridge was intended to have a unique feel, so both guitar parts change dramatically. The SG picks single notes within standard open chord forms, while the Strat strums triads (3-note chord forms…I-III-V). The core drum track was creating using a Boss DR-670 drum machine. After 13 years of recording with "real drums", I converted to the Boss unit in 2007. Being a drummer, I had mixed feelings about using synthetic drums. But the additional control, flexibility & convenience of the machine method sold me on the change. Suffice to say that recording live drums in a single-person home studio setup is a tedious process! Regardless, the marching snare used for the bridge section was an actual drum. Unfortunately, the machine decay rate makes crash cymbals sound VERY artificial. So… all crashes were overdubbed onto separate tracks, using actual cymbals. Final Production Notes The recording, editing & mixing were done on a PortaStudio 2488….a 24 track Tascam system. Performance Credits Drums, Guitars, Bass Guitar – Tom Hoffman Vocals – Tom Hoffman YouTube Video Version (*includes full song) - https://youtu.be/8A6W4OarAWY Tom Hoffman Songstuff member profile http://www.tune-smith.com The Story Behind The Song
  14. Linnon - Run!

    https://soundcloud.com/linnon/ While this one would require more work than Sometime, since it is a more complex mix with three bass lines, Looking forward for any thoughts, Thank you!
  15. hello friends my name is chrissy pederson and i go by the name blue milk. I am from nashville, tn and play some groovy lofi/indie/acoustic tunes!!! all i really do is play w my cat and drink coffee hi hello hey!!
  16. hello, pls feel free to check out some of my tunes!!! i am just your average groovy singing gal from nashville, tn, playin some indie/lofi/acoustic tunes, thanks bunches!!! feel free to hit me up with any feedback!!
  17. Dream Pop lyrics

    I had work as a songwriters for years, yet still cannot find any lyricst to collaborate. So I decided to write the lyrics myself. I would love to receive your feedback about my stuff. I mainly write songs in Shoegazing, Dream Pop and sometimes Classical/Jazz. Apparently my mother tongue is not English. Here's my lastest. Please feel free to leave a comment. Erskine Nguyen - Drug Dreams Lyrics: Night time clings to my daylight Whenever you'd like to change my mind Just go ahead and try your best I would confess all the things I've done to exchange my soul Sunshine'd never passed me by Whenever sunset would like to dive Now I don't go to change your mind I would resign to be your mastermind of love again
  18. Nobody Gets Out of Here Alive

    Here's my latest track. Nobody Gets Out of Here Alive. Check me out on https://www.youtube.com/channel/UCd_8-CXEJRGT2TS9DhyrsvQ Nobody Gets Out of Here Alive My star crossed lover Watch you falling from the sky A crash of thunder Then you disappear from sight Baptized by fire Lighting my desire And nobody gets out of here alive tonight Nobody gets out of here alive My senses screaming But I don't hear a single word Strangers creeping But careless fingers will get burned I'll beg steal or borrow For another tomorrow But nobody gets out of here alive tonight Nobody gets out of here alive Nobody gets out of here alive tonight Nobody gets out of here alive When it comes I'll run Far from the light When shes gone So long I live another life But I won't dare look twice For I worry that she might return I'll beg steal or borrow For another tomorrow But nobody gets out of here alive tonight Nobody gets out of here alive Nobody gets out of here alive tonight Nobody gets out of here alive Tonight Tonight Tonight Tonight Nobody gets out of here alive tonight Nobody gets out of here alive
  19. Joe Johnstun - When You're Bad

    Thank you guys for your help with the mix. - Soundcloud: https://soundcloud.com/joejohnstun Twitter: https://twitter.com/joejohnstun Instagram: https://www.instagram.com/joejohnstun/ Facebook: https://www.facebook.com/joejohnstun
  20. For this installment, we’re looking back at 2008. “Not-For-Profit Life” was the first of my songs to be played on internet radio. Back when Jango.com was kicking off their “Artist Airplay” program for unsigned artists, they contacted me about adding this to their playlist. The Idea As sometimes occurs, this song began with a Hook (title) and evolved from there. Subject Matter My intended message was a simple one…..Life is about much more than “the pursuit of money”! It’s never been a driving force in my life and with any luck, it never will be. No child was ever born thinking about it. We don’t come out of the womb that with dollar signs in our eyes. The importance of financial success is systematically sold to us. Don’t get me wrong, having “enough” money allows us to live financially responsible lives. But…beyond the point of “enough”, it becomes a non-essential & a matter of contention. As Sly and the Family Stone so famously said, “Different strokes for different folks”. Lyrical Structure Simply put, it's different! All 3 verse sections, the first pre-chorus & first chorus are written in 3rd person narrative form. The final pre-chorus & chorus shift to first person perspective, thereby taking ownership of the thoughts being expressed. Lyrics Voices of children enjoying the sunshine Laughing & playing with friends Livin’ out days as if each was a lifetime & Losing themselves in pretend No plan for riches No thirst for fame Young lives so simple Less greed, less pain They’re livin’ not-for-profit lives No sleepless nights, no worries or fears They live it one day at a time Livin’….not-for-profit…..lives Then come the years of bigger & better The quest for success at all costs Convincing themselves they’ve gotta keep pace with The neighbors, the times & their boss Squandering life for the sake of achievement More money, more stuff, but no time Chasin’ the dream, the one they bought into The one with no reason or rhyme No thanks, you keep it! That’s not for me! Things I hold dearest Mostly come free I’ll take a not-for-profit life! No sleepless nights, no worries or fears I’ll live it one day at a time Livin’…a not-for-profit…life Copyright 2008- Tom Hoffman Song Structure Introduction / Verse / Pre-Chorus (Rise) / Chorus / Musical Interlude / Double-Verse / Pre-Chorus (Rise) / Chorus- Brief Ending Musical Fundamentals The song is set in the key of E minor. By the time 2008 rolled around, keyboards had been added to my musical arsenal. This particular arrangement contains both organ & piano tracks. Since I've never been a MIDI user and haven’t utilized software patches or VSTs, the keyboard tracks were played on my Yamaha P-80 Electronic Piano. The guitar part is a mixture of picking & chords. With its single coil pickup textures, my Fender Stratocaster (Strat) was the natural choice. It's rare for me to create an arrangement with a single guitar track, but that was the case here. Just the one Strat track. Additional Instrumentation...... - Harmonica (intro-only) - Bass Guitar - *Congas - *Drums *The core drum & conga tracks were creating using a Boss DR-670 drum machine. After 13 years of recording with "real drums", I converted to a drum machine in 2007. Being a drummer, I had mixed feelings about the decision. But the additional control, flexibility & convenience offered by the machine sold me on the change. Unfortunately, the Boss decay rate made crashes cymbals sound VERY artificial. So… crashes were overdubbed, using live cymbals. It was an inconvenient method, but it improved the sound quality significantly. Vocal Details In each of the chorus sections, the phrase “Not-For-Profit Life” employs what’s known as vocal doubling. Simply put, the part is sung twice on separate recorded tracks. When both takes are played together, the small differences in pitch & timing produce a thicker sounding vocal texture. It’s a common recording technique....widely used for decades. A single harmony vocal track was used for: - the entire 3rd verse - the final line of each chorus section Final Production Notes By 2008, I had traded up to a 24 track system. Another Tascam, but this time a PortaStudio 2488. Having 24 available tracks opened up a whole new world of arrangement possibilities. Performance Credits - Guitar, Bass guitar, piano, organ, harmonica & Soft Shake – TomHoffman - Vocals – Tom Hoffman YouTube Video Version (*includes full song) - https://youtu.be/wB-yIHfg0NA Tom Hoffman Songstuff member profile http://www.tune-smith.com The Story Behind The Song
  21. “I Hope To Be" was written & recorded back in 2004. Despite its’ simplistic melody & country-pop textures, it’s played a lot ! That partial slide was taken from statistical tracking data on my primary website (www.tune-smith.com). It lists the 5 most-played songs in the month of March, 2014. As you can see, “I Hope To Be” was played 922 times…in its’ entirety. Just goes to show…..writers are often the last to know what others will like. This song has NEVER been one of my favorites, yet listeners seem to prefer it. Go figure! Don’t get me wrong….I’m delighted when someone likes any of my songs! I’ve simply given up trying to predict which ones. Overview Over the years, I’ve experimented in a variety of genres. Back in the early 2000’s, I was dabbling in country. Of the 6 songs that dabbling produced, “I Hope To Be” is the only one I’d call county-pop. Songs in that genre are typically…. Up-tempo Written in a major key Positive in tone & message “Twangy” sounding This songs qualifies in all 4 categories, which may have something to do with its’ overall appeal. The title probably doesn’t hurt either! “I Hope To Be”….short, sweet, positive & lyrically descriptive. Subject Matter While the title & hook line have a very positive tone, the overall lyrical message is a mixed bag. I probably should have called it – “I Hope To Be, BUT…” Yes….it’s a relationship-based song, BUT…a deliberately different one! The lyric is tentative and full of contrast. For instance…… “Love’s left its’ mark / Still life’s not a walk in the park” - In other words, as great as love it is, it does NOT conquer all. “Life” presents challenges of its’ own. “Hopin’ that things go our way / But I know, that if they don’t, we’ll still be OK” – hope contrasted by realism & the importance of rolling with the punches. To summarize my intended lyric message… “I realize you have goals for us, I hope to help you achieve those, but it’s important to recognize the unpredictability of life because sometimes sh** happens!” Lyric Love’s left its’ mark Still life’s not a walk in the park You’ve planned each step that we make Tryin’ to help me down the path you’d like me to take I hope to be Everything you want me to be But, we need to see How it works out eventually Whatever life you’re dreamin’ for me Life can turn out so differently Still, I hope to be ! Your hand in mine We reach for the life you designed Hopin’ that things go our way But I know, that if they don’t, we’ll still be OK Sometimes…even the best plans Don’t quite come to be Sometimes…your life’ll take ya’ Somewhere you never planned to see Still…I hope to be Everything you want me to be But, we need to see How things work out eventually Whatever life you’re dreamin’ for me Life can turn out so differently Still, I hope to be ! Copyright 2004- Tom Hoffman Song Structure Introduction / Verse / Chorus / Verse / Bridge / Chorus Length of song - 3 min. 20 seconds Musical Fundamentals The song is set in the key of E major….BPM 126 The arrangement consists of 7 total tracks, 6 mono & one stereo pair. Mono Tracks assignments - 3 separate guitar parts, bass guitar, keyboard strings, single vocal Stereo Pair – live drums My Yamaha acoustic was used for the primary guitar. Aside from the intro section, this part is made up entirely of strummed chords. When the song was written, this part & the vocal melody were created first. Lyrics were added later, which is typical of my process. Together, these 3 elements represent the core of the song. The musical structure of this primary guitar is unusual in a number of ways. All 3 song sections (verse, chorus, bridge) end on the same chord…an E. Both verse & chorus sections begin on the same chord….an A. The chorus sections contain a generous helping of sus 4ths The acoustic guitar for the intro section consists of muted 2-note intervals (alternating 4th & 5ths). Both secondary guitar tracks were done with my Fender Strat. One track is entirely lead guitar licks, while the other is a combination of strummed chords & single picked notes. Final Production Notes The recording was done on a Tascam PortaStudio 788. It’s an 8-track digital recording deck. Performance Credits Drums, Guitars (acoustic & electric), Bass, Keyboard Strings – Tom Hoffman Vocals – Tom Hoffman You Tube Video Version (*includes full song) - https://youtu.be/owSCMudfMao Tom Hoffman Songstuff member profile http://www.tune-smith.com The Story Behind The Song
  22. this song started out by watching a co-worker destroy his cubicle after being fired at work some years back. alternate (heavy rock) take of (track #10) on our last album, where the same track largely sequenced and experimental- update: thrashcore special guest rant & spoken word. single off of upcoming "Ritual Del Cubículo" - Daren ALAN CRUZ: acoustic drums, ceramic drum DAREN TURNER: acoustic & electric guitars, vocals, bass, keysCHRIS STETSON (special guest): thrashcore rant, spoken word THROW AWAY SONG [alternate version] ©2016 MRI ~ Words & Music by Daren Thomas Turner A painful observation of all of you here Pessimistic, overdriven, troglodytive Hello! My name is: NAME TAG Please laminate my head Stick me in a cubicle *** **** me 'till i'm dead Hurricanes and earthquakes love my zen Malthusian 'cause you reek of all your cronies and dirty nepotism I am just an effigy burning up in flames I'd rather be just thrown away than ever born again Suicidal tendencies cut into my flesh To dream in phenobarbital into foreverness I am the vicious mirror that anorexics fear Permanent obfuscation Believing it's real The point blank honesty that has made you hate my face Also makes your own opinion of no ******* consequence My only friends are mannequins who linger on Facebook I just posted my obituary and no one even looked Hello! My name is: NAME TAG Hello! My name is: NAME TAG Hello! My name is: NAME TAG Hello! My name is: NAME TAG
  23. “Pentatonic Playground” was originally called “Romantic Guy”. It had a vocal melody, lyrics and told a tongue-in-cheek tale of a dysfunctional relationship masquerading as romantic behavior. If you’re curious, those original lyrics are listed at the bottom of this article. “Romantic Guy” was written & recorded back in 1998. Honestly…I liked portions of the arrangement, but the song as a whole didn’t work. In May of 2009, I began work on this instrumental version (“Pentatonic Playground”). With this new format, came structural changes. The original verse sections were cut in half, making this instrumental version 48 seconds shorter than it’s’ predecessor. The 2 versions were copyrighted…separately. About The Song Structurally, “Pentatonic Playground” is pretty basic. verse / chorus / bridge / verse / double- chorus / ending It’s one of four instrumentals in my entire catalog. Of those four, two began as lyrical works, eventually becoming instrumentals. My songs generally evolve from one of the following: - a chord progression - a riff/pattern - a section of melody - a central theme This one grew from a riff that I stumbled on while practicing stretch scale patterns. Major pentatonic patterns to be exact.....hence my choice of song titles. Both verse & chorus guitar parts are variations of that pattern, played in the key of G. Musical Fundamentals The song is set in the key of G….BPM 116 Alternative genre Total run time - 2 minutes 42 seconds It’s a guitar-based arrangement, built around that primary progression mentioned earlier. Guitar #1 plays the primary riff (progression) for both verse & chorus sections. For the bridge, it changes to picking single notes within chord forms. Guitar part #2 is made up of 5ths (2-note intervals) played throughout the verse & chorus sections. It switches to strumming full chords during the bridge. The 3rd guitar part plays what was originally the vocal verse melody. For the most part, the chorus sections double guitar #1. Guitar #3 drops out for the bridge section, allowing simulated strings to take over performance of the melody. My trusty Gibson SG was used for all the guitar work. The core drum track was creating using a Boss DR-670 drum machine. I converted to synthetic drums in 2007, after 13 years of fighting with live drums in a home studio setting. Suffice to say that it’s a tedious process! Despite my use of the machine, the drum parts are still written the old way….sitting behind an actual drum kit. Crash cymbals are overdubbed live, on separate stereo tracks. Unfortunately, the Boss decay rate made the machine versions sound VERY artificial. Try as I might, I was unable to live the results, so I continue recording those the old way. Final Production Notes The recording, editing & mixing were done on a *PortaStudio 2488….a 24 track Tascam system. (*top-center of photo) Performance Credits Drums, Guitars, Bass Guitar, Tambourine, Keyboard Strings & Breaths – Tom Hoffman Tom Hoffman Songstuff member profile http://www.tune-smith.com The Story Behind The Song “Romantic Guy” (Lyric) Verse Came home again late…third time this week Smelled like a barroom…too drunk to speak Next day he’s sorry…what a surprise! Sends her some roses…Romantic Guy Chorus Romance...is a temporary patch on a bleeding life! Good chance….that it fills the vacant place in her heart, for just one… Bridge …Night He’ll make her feel like she’s a queen He’ll be her slave for a night He know…tomorrow brings Time enough…to spread his wings They’ll pretend for now that things are alright Verse Lost his whole paycheck…out at the track Borrowed more money…to win it back Next day he’s sorry…what a surprise! Sends her some roses…Romantic Guy Double Chorus Copyright 1998- Tom Hoffman
  24. People sometimes know me for years, before finding out that I'm an amateur singer/songwriter. It's not that I'm particularly secretive about it. It's just not something that fits easily into day-to-day conversation. Occasionally, if a discussion is already headed in a musical or technical direction, I'll bring it up. Experience has taught me though, not to be surprised if the news draws a strange or uncomfortable reaction. I've come to believe that many folks are simply thrown a bit off-balance by my hobby. Unless they happen to know someone else who writes, I guess they're a little unsure about how to process the news. A few years back, I made a 20+ year acquaintance aware of my musical pastime. Her reaction was the kind I always hope to get...one of seemingly genuine interest & curiosity. Anyway, as a result of our conversation, I left her a computer burn CD containing some of my better-quality demos. I ran into her again a few weeks later...and she made a point of telling me how much she enjoyed it. She seemed amazed & impressed by the fact that one person could do everything she'd heard on the recordings. Then she laughed & said that her husband had a slightly different reaction. He was absolutely certain that I was being less than truthful with her! Naturally, I couldn't just leave it at that. My curiosity was killing me! I don't want to get too far ahead of myself here, but basically, it turned out that he was laboring under a life-long musical misconception......hence the title of this article. As we continued talking, I discovered a little more about her husband's reasoning. Basically, it boiled down to this: - He knew nothing about the concept of multi-track recording - He was under the impression that all recordings resulted from everyone involved (musicians, singers, etc.) gathering together in a recording studio, performing the song similar to the way they would do it live...and recording that performance. The bottom line was this....he wasn't questioning my personal integrity. He simply believed it was impossible for me to do what I had claimed! The thing is though, he was very mistaken! Afterward, I was thinking to myself...."here's a reasonably well educated man, in his mid-50s, who's been an avid fan of music throughout his life, but has absolutely no idea of how it all works! Gee! I wonder how many other folks are walking around thinking something similar?" At the very least, that might help explain some of those strange & uncomfortable reactions I mentioned earlier. So here's my take-away from this experience: 1) We songwriter/musicians tend to assume a lot. Much of the time, we take for granted that the general public has some understanding of how our musical world functions. Many times, they don't! 2) For any non-musicians reading this article, recording is generally not done in the way this gentleman envisioned. For many years, commercial recording has been achieved through the use of multi-track technology. Even though multi-tracking has evolved dramatically & continues to do so, the concept itself is not new. As a matter of fact, The Beatles utilized multi-track recording! That should give you some idea of how long it's been in existence. Basically, the technology allows for the recording of different sounds, onto different tracks. Typically, each instrument and vocal part is recorded to a separate track. This allows for separate control of each part. It also allows the parts to be recorded one-at-a-time, if desired. A musician or singer has the ability to listen to the previously recorded parts, while playing or singing along with them and recording their new part onto an unused track....all by itself. Pretty cool, huh? Most commercial recordings are not the result of everyone playing & singing in the studio together. The version that becomes available for public consumption is generally the result of many, many individual tracks, which are blended (mixed) together into one pair of stereo tracks. Sometimes, 100 or more individual tracks go into the making of that final stereo recording that you hear. As you might guess, there's much more to it than what I've briefly described here. But hopefully, this serves to give you a basic understanding of the process. That's about it for this time. With any luck, if you're a musician & were already familiar with most of this, you found it amusing food-for-thought. If you're not a musician and much of this was new to you, I hope you found it informative. Thanks...and as always, your feedback is welcome & appreciated! Tom Hoffman Songstuff member profile http://www.tune-smith.com http://www.youtube.com/tomhoffman1
  25. In this age of seemingly endless technological advancements, a question has occurred to me. Is it possible that the production/technical side of our modern music industry and the end-user side, have been moving in contradictory directions? In the spirit of full disclosure, I have no formal expertise in either side. But my knowledge of...and continued exposure to both sides has caused me to wonder. By absolute coincidence, the digital age was beginning to take hold right about the time I made the decision to re-involve myself musically. For the past 17 years, I've watched as both the creation & end-user sides of this business have evolved. The business (creative) side has continued to develop its technical capabilities. The multimillion dollar recording studios of today are capable of amazing things! They'd likely be the first to tell you that they're an indispensable part of the creative process. From what I understand, the industry's position is....that without their sophisticated equipment & technical expertise, the virtually flawless recordings of today wouldn't be possible. I don't dispute that claim! But, along with that capability, comes increased cost of production. As you might imagine, this increased cost has to be passed on to the consumer. So, the bottom line is that you & I end-up paying more for our music. Proving once again...that there's no such thing as a free lunch!-LOL Seriously, I can understand that! After all, if their cost is higher, they have to reflect that in the end price of the product. But, here's what I do question. Despite the industry's claims that we need this modern level of quality....do we really? Given the recent direction of the end-user (listener) market, is it necessary, or has the music industry simply chosen to ignore current trends in listening technology? Back-in-the-day, small/portable/low-quality listening was the trend. To be more specific...mono AM-only transistor radios. Fifty years ago, that was our version of a personal listening device. By the time I was into my mid-teens, stereo sound had become the new standard. Thank God! With that change, came an increased desire for high quality listening capability. Virtually everyone I knew at that time wanted a good quality receiver, turntable & speakers. The speakers had to be 3-ways, the receiver had to be low noise...low distortion and the turntable had to be state of the art & capable of tracking at 1 gram or less. Lighter tracking was thought to aid in preserving the quality of the vinyl albums. We had finally become picky about our sound! We were concerned with things like frequency response range, so that we'd be able to hear extreme highs & lows as they were intended to be heard. These systems didn't come cheap, but we were willing to pay more for the quality we wanted. Now....let's flash forward to the digital 2000's! Essentially, we've returned to an age of less expensive - highly portable listening devices. Grant-it, today's versions are much better quality than our transistor radios were. They're also capable of doing much more. But the overall market trend is similar! Isn't it? The average listener today: - buys, or somehow acquires, music in a128 kbps mp3 format - hears much of their music through ear buds, pc bar speakers or lap top speakers Bottom line...today's listeners hear most of their music in a format that's well below the quality of a wav-form recording, through speakers with limited frequency response capability. So, refresh my memory again! Why was it that we needed that virtually flawless quality at that elevated cost? Tom Hoffman http://www.tune-smith.com http://www.youtube.com/tomhoffman1 http://forums.songstuff.com/user/1454-tunesmithth/