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Found 22 results

  1. What is the best microphone you can suggest for a home studio?
  2. "Hey, can you come play my party for free beer?!" "If you come play guitar for me for $50 this time there will be more gigs to follow!" "Do you have some unlicensed or royalty free music I can use for my video?" "I can pay you in (insert social media platform) more followers if you do this for me." Knowing one's value or worth is the best advice I could ever give anybody wanting to jump in this crazy music industry...OK, the end!! Whew, thank goodness you don't have to read anymore! Seems so simple, right? Monetarily speaking, knowing your worth can be an incredible advantage to your career, or not knowing what your "product's" value is can be a horrible disservice to you and your fellow colleagues. This is what I mean. What we do in the music industry whether it be a song writer, jingle composer, player, artist, manager, booking agent, etc. is entirely different than any corporate structure set in any other genre of business. There is no infrastructure to evaluate how much you should be making on a global scale. There isn't a chart on the internet to tell you how much you should be making. That certainly would make it a lot easier. From what I've learned, culture and the city you live in seem to set a standard. Granted I can only speak as an American understanding the evaluation process in music. Los Angles, New York, and Nashville are what I call the big 3. From there I would say the next tier cities could be an Austin, Texas or a New Orleans, Louisiana for example. But the big three usually set the trends in the largest commercialized music markets (Pop, Rock, and Country). They also have more opportunities in all areas of music as well. How much should I charge for my services? It all depends on your culture, city, and what will you gain out of it. In Nashville, a guitar player hired to play some songs have a pretty standard base rate of a local show getting paid $150 and if there is travel involved no less than $200. But I've excepted gigs for a lot less. Even $50! In corporate business suit and tie world they would ridicule you for taking a 75% cut. I don't blame them. Let that percentage sink in. I didn't know what I was doing was undermining a system that would devalue and under appreciate a player that would be well deserved of a base pay of $150. Integrity in the market place is a concept that , in monetary terms, people will know what to expect. Consistency if you will and it even sets a bar predicated to a system that can establish tiers. For example, do those local shows for $150 and when you have the street credit eventually you can make the jump up to $200, then $225, and then so on, and so on!!! Your culture may have something set in place. Maybe? Maybe not? Isn't it funny? Do you ever wonder if somebody slapped a sign on your back that says "will work for free" instead of "kick me!" Know your worth. Set a standard. Educate yourself from other musicians/writers/engineers/blah/blah/ bah. Let those that have walked that path mentor you. Help your community by establishing that your vocation as a creative is important to be worth given money. I had a coffee with a friend when I first started traveling to Nashville. I expressed that I didn't know my value or even when should I take a gig. I still use this rule to this day and I absolutely love it, and I think it applies here. After he mentioned base rates in Nashville he ended the subject by saying, "Two out of three ain't bad." 1. Is the money good? 2. Do you like the music? 3. Are they good people or are they fun to hang out with? "If you can say yes to at least two of those...two out of three ain't bad."
  3. Hello Songstuff Community, I am Palm Baker, and I am a Toronto based music producer, studio owner, and recording artist. My journey as a musician started with a cheap guitar at a young age. I have since learnt guitar, along with piano and a handful of classical brass instruments. Aside from being a multi-instrumentalist, I am also a studio engineer. Building my first studio four years back in the basement of a London, ON. apartment, I began working with friends and close networks to figure out the ropes. I have since worked with artists and producers across Canada, the United States, and even one team of EDM producers and rappers from Sweden. As an artist I have performed across venues in Toronto, ON. Some of these venues include The Opera House, Revival Bar, & The Mod Club. To organize my live set I use the Roland DJ 808 where I can control my studio produced tracks along with my vocals mic-ed through a vocal processor that lets me control Volume, EQ, Pitch, and Reverb. Here at Songstuff I hope to develop networks and build my company, while sharing feedback and my music. Looking forward to what this community has to offer. All the best, Baker
  4. Now i know that monitors are best however how much difference would it make? I did some research and I'm conflicted as in some music forums they say studio headsets are great to use while others say to never use them or only use them along with your studio monitors. So What I'm asking is, Can you use studio headphones to mix as well or close to as well as studio monitors (krk headset vs krk monitors)?
  5. Just made this video, using a Rode Videomic. However, i want to get a more professional recording studio. Can Anybody give me suggestions to improve the audio as well as tell me what studio setup i should use, i have 1000dollar budget https://www.youtube.com/watch?v=otuH89Va9FM
  6. My band recently released a mashup cover of Taylor Swift's "We Are Never Getting Back Together" and All American Reject's "Gives You Hell". Been playing it live for a year or two now and we recorded a cover of it to release this week since Swift dropped "1989" this week. Would love to know what you guys think of it in regards to structure and production! https://soundcloud.com/pseudonameband/we-are-never-getting-back-togethergives-you-hell
  7. From the album yousonics

  8. Hi I'm writing from my pad where I have a break now from live performing and ready to write and produce or just produce music for aspiring songwriters, lyricists, and all! My site ********* Especially go to *************** and send me your ideas recording stuff for free right now to get back into the swing so give me a buzz, holla, get in touch! Paul
  9. Hello everyone!! It's me, TripMX again!! I know that it has been ages, but now, I am ready to showcase my new updated official music website!! VERSION UPDATE SCREENSHOT: http://img.photobucket.com/albums/v63/TripMachina/WebsiteUpgradePic_zps750c7cdd.png ----------------> MY NEW OFFICIAL MUSIC WEBSITE: http://www.tripmx.netii.net <---------------- I worked really hard on creating this website, and I handcrafted it as best as I could for the convenience of visitors (you all! )! This new version website is vastly superior to the old version! Navigation should be a breeze!! Here, you can preview/sample ALL of my music ever created---all of which were created via Xewton Music Studio (iPad/iPhone) exclusively! In addition, you will also have access to the full songs via special links AND you will also have access to all of my music videos via special clickable links under specific songs on the website!! Here are 3 of my latest songs (2 Originals + 1 Remix/Cover): Thank you very much, everyone!!
  10. As an apartment dwelling guitarist one of the greatest frustrations I have is coaxing quality tones from my guitar amps without disturbing the neighbors. While I already have a Roland Cube 60 with cosm technology I always was a little let down by the amp modelling and very let down in the fact that I'd have to crank it past acceptable levels to try and coax the tones out of the speaker. Yeah the Cube is great for small clubs in band situations where the tone is often lost in the wash of other instruments and room dynamics. But I wanted something else. My 40 year old pignose wasn't getting any younger or better sounding and I'd sold a few amps that I didn't feel I needed anymore as I wasn't going out on stage on a weekly basis. Enter the THR Yamaha has a few thr models out now. 5 watt version, A 10 watt standard version a 5watt acoustic only version, a 10 watt Heavy Metal version and mine. I won't get into all the differences here as there are plently of references for the rest of the models online. I got the THR10C specifically for the "C" Combo amps. Not just a guitar amp Normally, Reviewers put this in the last little bits of a column, When I'm in the kitchen cooking or cleaning up I'll ofted put it on the counter and listed to music with the THR. It not only has a guitar line in it has a usb connection and a stereo pin plug suitable for portable devices like smartphones and ipods. The sound is quite "high definition" with a near field amp / speaker design that doesn't need eq for non guitar inputs. Stunning, simply stunning. There are two volume controls on the far right side of the top. One is for the level of the guitar amp after modeling and the other is for the usb and/or external analog input. The USB in on the back serves as both a conduit for the THR software editor and as a sound card. The sound card operates at a respectable 24bit/48k on my vista machine. The soundcard utilizes Steinberg's asio drivers (not a generic ASIO4ALL) and a version of Steinberg's daw software is included (though I chose not to install it). While at first I had some sorting issues as I'll often run two daws with different drivers at the same time. Once I sorted things out it worked like a charm in all my hosts/daws. Noticeably lower latency compared to my internal sound card (realtec) and my external m-audio fast track. It just works. As well due to the design I can send both the modeled amp and a clean guitar signal to my host application. Which is extremely handy when I decide to use a third party plugin to handle amp modelling. Reamping and side chaining is something that are new to me in regards to guitar sounds. The THR10c has replaced my sound card and speaker system on all levels. I'm using it whenever I'm on the computer. Online video's internet radio and even recording. It truly is the end all be all. The Profile About the side of a bread box. A little narrower (front to back) and longer (left to right) Width 360mm Height 183.5mm Depth 140mm Runs on 6 "AA" batteries or via power supply. The Amp Sims For the record there are only five amp sims not eight. There are indeed 8 settings but only 5 can be considered amp modelling. The other three... well you'll have to scroll down a bit for more on that. Deluxe True to it's name the Deluxe is a very very faithful recreation of a fender deluxe. Although I'm sure someone with a real deluxe is wanting to go fisticuffs with me over that. Unlike the original THR10 the THR10c version doesn't break up untill everything is cranked and then it is only slightly noticeable. If you want some serious crunch tones consider other amp models or putting a stomp box between your guitar and the amp in. That's not to say it doesn't have punchy tube like compression or crunch value when the master and the gain are cranked. It's there and in your face. Thank goodness for the separate "guitar amp" volume control on the far right. With that I can get all the tone of all the amp settings without the cops showing at my door. Yes it is a rather loud ten watts when you need it. The yamaha virtual circuitry models the amp at all stages including how the power tubes react not just the pre's. This is something of which I could never attain from my roland cube. The technology mimics all tube amp behavior. Including reaction to string attack. play softly or roll off the volume and the tone cleans up just like on a real amp but unlike a solid state or generic amp sim computer or external. As well the tone controls faithfully react as the amp models do. It's not a generic eq for all models like other sims. These tone shaping characteristics are unique to the amp model selected. How faithful is the sound.... Well I've played two fender deluxes in my life time. Both a very long time ago in less then ideal rooms. This sim sounds great. I was able to pull out amazing clean tones of yesteryear and today. Class A The Class A is modeled after a matchless. The Matchless amp was considered the amp of the 90's . As it so happens the original Matchless was modeled after a Vox AC30 though heavily hotrodded This pulls out all those Rolling Stones, Sheryl Crow, Beatles and pretty much anything that has a loud and proud punchy mids. US Blues Fender Blues Junior incarnate. If you like fender amps with a little bit of bark to them for...Rockabily, Chicago Blues, SRV or even Knopfler tones you can pull it out here. UK Blues This is based on the Marshall Blues Breaker amp. And just like the blues breaker the tone controls are practically useless. If you really want to pull up the full spectrum of tones from this particular model be prepared to use stomp boxes. Mini This doesn't sound as much like A DrZ to my ears as it does a traynor darkhorse. Loads of gain from having only one power and one pre tube emulation. Again it's one of those amps that draws tonal character from your playing technique. Bass While intended for running a bass into the amp more then being an amp sim. I find this very very useful in "solo" fingerstyle playing regardless of style or guitar. (Yes. I've run all my guitars through it) The enhanced bass response is similar but not quite the same as my old Traynor Bass Mate. Acoustic No it's not an acoustic simulator. Actually it has the reverse effect. It's a mic sim that reduces the brightness of the tone much like live mic'ing would do. I find this especially pleasing for my jazz box tones where I want a pristine clean sound with a little bit of warmth. Flat Does what it says. treats the signal like sending it directly into a board. Effects Section My god,,, move over every amp with built in effects this one gets it right. No it won't emulate your favorite brand name stomp boxes to a T. I'll be honest. I've never been a fan of effects aside from a little reverb when casually practicing. Hooking up a pedal board adding more cables to the floor, wasting batteries. I also don't like stacking a billion effects on top of each other. None the less I'm more inclined to add a little chorus, etc today then I've been in years past. Simply because it's close at hand and rather well done. Of special note. The choice in amp selection has a direct correlation to the response of the effects in the mix. While I won't get too far into the effects in general one thing to note. The delay effect emulates tape based delay rather then digital delay. This emulation has all the artifacts of tape based delay. So if you are wanting to recreate that David Gilmour vibe have at it, However if you are looking for more of a Duran Duran / U2 delay well... pull out a stomp box or feed it through your daw. The delay does have a tap tempo button on the left side of the top that only controls delay. The button also serves (press and hold) as a means to access the chromatic tuner. About the presets Along the top of the amp selector is located 5 presets. This allows you to store all the values (amp type, master and gain levels, eq settings and effects settings to a single preset. It's quite a handy little feature for me as I have favorite sounds that I don't want to recall all those settings when ever I come back from doing something else. But I have to ask the questions Why only five and why don't they have a pedalboard for this thing? I know it seems petty of me after all these features (and more to come) It's just a practice amp. But it would be really nice to have some type of footswitch control for switching from chords to soloing. Setting a preset is as simple as pressing and holding the corresponding number. After that a quick touch of the button will bring it back. The THR10C Editor Yamaha provides software editors for mac and pc which allows the user amongst other things to access features not available from the top of the unit. These include the ability to switch speaker cab emulations. A compressor (stomp or rack) Different types of reverb(spring reverb is only available on top while the editor allows for spring, room, hall and plate) and a noise gate. I'll be honest as much as I love recreations of classic tones I'm not the type to spend hours tweaking knobs to recreate them. While I found the 24 included presets useful and a lot of fun I really wish they were more artist song specific as found on my pandora mini. However I'll take the clarity of signal and faithfulness of amp recreation in the THR10c over the pandora anyday. (the pandora is noisy as hell) There is a resource page for user contributed presets here - http://guitarpatches.com/patches.php?unit=THR10C Though it's rather limited Even though the THR10c has a near identical clean/deluxe sound these amps and the patches are not cross compatible. You can't take a preset intended for a THR10 or THR10X and simply run it in the THR10C. Final Words I've had this for a few weeks now. While the newness has worn off, what remains is an amazing little amp. I've had more stop boxes and all-in-one floor units then one can imagine. My daws are chocked full of even more dsp's. I've tried line6 stuff and really they always come close but the aliasing and the rather apparent delay have always been off putting. This little amp sounds as organic as any tube amp I've ever owned. It's replaced my soundcard and sits atop my desktop next to the monitor. Always ready for me. As a result I've done more guitar playing in the last month then I had for the entire 6 months prior to ownership. Every guitar I've owned has spent some time going through this amp. Strat, tele, lp, you name it. I've heard all them in a "new light" and the amp has rekindled the romance of my old guitars. I wonder about the future of these great little amps now that Yamaha has acquired Line6. Unlike line6 amps and pods the yamaha thr10c doesn't try to be all things all the time. Instead it it focuses on a nice market and serves that one extremely well. The niche market being classic rockers / jazzers, bluesmen like me.
  11. Hi everyone. I'm looking for general feedback about my band. We recently played a live show on a local radio station, so I kind of want to get feedback on our performance and songs. Please feel free to mention anything aspects you like/dislike. Thanks!
  12. Okay! So! Hey guys. I just wanted to share my new remix with you. I've never produced something like this, and I'm really satisfied. I hope you like it aswell! Peace
  13. From the album Gigs

    This is me playing at my local recording studio in Stornoway
  14. Hello! I'm a 19 year old (soon to be 20) producer, who dedicate most of my free time producing. It's a big passion I've got, and I hope to one day be a real professional producer. So - I thought I'd share my latest dubstep track with you, and I hope you like it! I really appreciate all kinds of critique! It only helps me going in the right direction. Thanks! Link:
  15. Hi Y'all! I'd like to say I LOVE the idea of what Songstuff is working towards. I'm a full time professional bassist in Nashville TN and I am looking to record a bunch. And I mean a BUNCH. So if you need bass on your track, I'd love to work with you on it! You can hear some stuff at www.matthewheathharper.com Thanks!
  16. From the album Cozy Corley Studio

    Celestial Music Studio Mission 2218 22nd Avenue ~ Gulfport, MS ~ 39501 (228)216-2558 Philosophy and Mission To nurture the artistic spirit in each person and a lifelong love of music and learning through a wide variety of types of repertoire, including classical piano music, pop, jazz, blues, sacred pieces and hymn. To help each student achieve their highest musical potential through performance, listening, technique, theory, music history, improvisation, composition, ear training, and memorization. The Celestial Music Studio mission of transforming lives and enriching the community through music education has never been more needed, and the demand for its programs and services is at an all-time high. Our success is by allowing you the freedom to bring your child and let us teach the techniques and training you desire. We don't push any particular methodology. We do ask what style of music interests a prospective student to give them the best music training possible.

    © Cozy Publishing

  17. Hey, I'm new to SongStuff. I guess the appropriate thing to do would be to paste in the About Me section from my profile. Sorry if that's a sin or something. My name is Ryan Miller; I am independent composer/producer. I produce music ranging from classical to hip-hop to house and back. If you are interested in hiring me as a producer or working with me, email AnotherLostKing@Gmail.com. Some of my favorite artists/bands include Alt-J, Aesop Rock, RHCP, Nirvana, Klaypex, Marcy Playground, and Tool. I dabble in 2D (and 3D) design (ex. posters, cover art, logos, advertisements, etc.). I can't sing (very well). If you want to ask me any questions, feel free to reply. (Hi, by the way.)
  18. Hey there. I just have a few quick questions about composition. Intros: I always get stuck on the beginning of my songs! I will usually try to start with a simple riff/melody fade-in that becomes more complex later in the song. Any tips on how to get a dynamic and audibly pleasing intro? Outros: I usually just start decomposing (funny pun) the song by making the various sounds fade out until it is a simple melody again, which I then fade out slowly. I feel like there is a better way to end my tracks other than just systematically removing sounds/instruments until it is the main melody. I don't know how else to end my songs without making it sound uncomfortably abrupt. Transitions: This is the worst! I have two melodies that I want to smoothly transition between but I end up with a less-than-acceptable mess of changes in the flow of the piece. I usually use a drum solo accompanied by an extended note in order to transition between melodies, but it never sounds that great. How do I get a clean transition without ruining the flow of the song? Mastering: This one is simple. What effects (reverb, lo-fi, delay, etc.) do you think should generally be applied to specific instruments for the best quality overall? Sorry if this post is in the wrong place. I'm new! I'm really only looking for tips and tricks that more experienced producers would use. As a side note: I have a wide variety of VSTs, but I mainly use soundfonts for basic instruments and drums. Should I not use soundfonts?
  19. I signed up June 23rd but its been so busy Im just now getting back on .. Not completely certain that I "officially" introduced myself so... Here I am! Interested in learning about who is who out there and barriers in the world of songwriting, recording, technology etc. Hope to be able to contribute - if not .. certainly learn! PattyBWS http://www.backwoodsrecordingstudio.com/studio-rates-services/song-arrangement-melody
  20. Hey guys! I finished the latest song Lifeless Time of my project Inolors (hope you like the cover art above ). It's a mix of various genres and styles and I had lots of fun wirting and recording it Anyway our opinion on it would be great! PS: If you like the music please visite my facebook page http://http://www.fa...nColorsOfficial
  21. Hello everyone, TripMX here! I'm yet another aspiring artist (music-wise, as I can't draw [stick figs at best xD] AT ALL) who has began making music just recently, ya know, like 3 months ago, lol. Reason I started was because I honestly wanted to give it a try, but had no good PC or equipment to make the music; luckily, I found an app in the Apple App Store that made it possible for me--Xewton Music Studio. It's not as popular as GarageBand, but I love it; it was definitely worth the purchase. I make all of my original music on my iPhone/iPad...gotta love the portability. Anyways, sorry for the crazy long intro. When I make my songs, I make three at a time and call it a 'Music Pack'; I then release the pack on YouTube. So far, there are seven music packs on there. Most of my songs' length ranges from 0:40sec ~ 1min:40sec on average. Disclaimer: My music style is a bit...varied, but mainly more on the dark/wild side, so please try to bear with it. I've tried making lighter whimsical tunes, but they eventually tangent towards dark/underground unless I try realllly hard, lol. Also, I didn't start quantizing until much later, so you may notice that in some areas at times, but in other areas, I didn't have the intention to quantize due to what I was trying to achieve musically. SPECIAL REQUEST: May I ask for your help (those who choose to listen to my music), please? I am no expert at defining musical genres, and I've been needing help in determining the genres of each one of my songs. I would greatly appreciate it if you all can help me out with this also; thank you. My Music Packs 1~7 EXTRA MATERIAL (music I made outside of my standard music packs) Hope that you all can check it out sometime. Thank you! =)
  22. Recently I've learned some of the most important lessons ever in my musical life. Music Vacation About 7 days ago what began as an impromptu conversation and wish for me maybe laying down a drum track for friends' material turned into a plan for one of my songs being recorded. I wasn't entirely sure until mid-week beforehand that it would actually go down, but I began the prep early in the week anyway. Another big chunk - guitar, drums and vocals. This is an account mainly about a successful studio prep for drums. The studio I speak of is owned by Phyllis and Stefan Johnson; some time ago in the Dahlnotes blog I'd written about Phyllis, a former bandmate, who in the intervening years has become an accomplished songwriter (in addition to already having been an accomplished musician and vocalist). I may be writing a complete entry on my time with the Johnsons in Dahlnotes. Phyllis Johnson Music The song we'll call Dylan's Dream - as the lyric was based on a dream my son had. It is so new that Thorny Swale (the band I'm in) had only played it a few times. As I've been doing rhythm guitar on all my originals in rehearsal & live, I'd not given thought to drums. As it happened, my children were away for the week, so I was free for immediate prepping. I did not know my own song on drums, did not know what I "really" wanted - the particular beat nor fills nor builds. Slowing the Tempo for Studio Prep The tempo of Dylan's Dream is between metronome settings (I'm not digital folks) so I opted for the slower of the settings - and soon realized this was key to all of my drum prep. It coincided so beautifully with the bulk of my practicing this summer, as the desire to leave no stone unturned in broadening the understanding of how to swing, had me halving my speed on a regular basis. Halving (or going down a third of the speed) in my opinion has done wonders. Part of it is purely practical: I dislike changing metronome speeds and I have so many children and duties that it's calming for anything to stay at the same tempo for a prolonged period. I just...halve the speed, do the figures in triplets, double the speed, whatever is possible using the same setting. Prepping the song in the slower tempo was agonizing, but I hung in there and did my best. The result was that I was nailing (in understanding, then execution) the various song parts. How and What I Prepped In this order I discovered (and/or "wrote" but not via notation), in roughly two practice sessions: Perfect Tempo Main Beat Basic Outline (swells, builds and overall feel) Feel of the fills and figuring out what specifically could get me there (eg double stroke snare rolls, slowed drumset rolls using kick drum) The next two practice sessions I concentrated on: Creating the Fills Executing the Fills Transitions from Main Beat to Fills and back out to Main Musically Playing Song Sections All the Above at Agonizingly Slow Tempo (via metronome mic'd through the amp) As many others do, I played in the air - the song was in my head (or it wasn't because the slowed tempo invariably placed a Zepplin-like riff in my head I could not get rid of). I was getting anxious because firstly I recalled how long it can take to learn a song -- by a good drummer with their nuances. But I was writing this song! I needed more time, but didn't have it, as by the 4th practice session the road trip to Phyllis and her studio was a for sure thing. The Final Preparation The last two practice sessions: Recording via the 4-Track Listening to result then repeat recording Even if recording solid, do again -- being able to "do it again" is important Bpm up to original tempo via 4-Track Continue Learning/Remembering Song/Fills The drum prep went hand in hand with guitar, though they were separate. The bulk of time and focus was drums. The last session was a short one, I took it easy and spent most of the day relaxing or sleeping. By this time, and maybe because of the focused drum practicing I've been doing all summer which seems to carry over favorably to guitar and vox, I realized this was the most complete, focused prep I'd probably ever done...and somehow I knew exactly how and what to prep. I also realized I'd fallen short of this in the past (eg w/ Dan who I've been working with). But mostly I felt grateful for the knowledge of my abilities and the ability to create and execute a plan which worked. The day of the session I did not play at all, and only sung for about 20 minutes, about 2 hours prior to the recording. The Result Maybe we got lucky - it was a reunion, after all, of 2 very-like minded musicians, it was out in the country (blessed change) and in their good-vibed home, with their son and the whole family atmosphere. I played Phyllis' kit and had an issue with the kick pedal tension...but after the 2nd take and I wanted to try again, Stefan was listening and made a comment, but it was the way he was listening, that made me listen to him, and take it to heart. I'm not sure what decided things...I did find out then that each part of the kit took up a separate track, and there was a question of whether or not the space might be needed...yet then Phyllis listened and confirmed. It was not perfect, but "you're a human being!" It should not be THAT perfect that something's thrown out if 2 notes are a smidgen off with an otherwise great-feeling take. The more we listened to it, the more we liked it. Sadly, each fill I wanted was not realized - but what I did instead did work, and all the general things were included. But what really rammed things home for me was what Phyllis said: that out of all the drummers they've worked with, none had done what I had...that when I outlined to her the prep I was doing, she was so happy that a drummer would prepare via a click. And that a drummer followed through, in the transitions to fills and out again, in time, and especially that a drummer played the song. That a drummer would also practice a song, because previous drummers were convinced it wasn't necessary to learn material beforehand, and would instead listen a few times at the session. Phyllis further said that she had had to go back and re-do drums (and she is not a drummer) because at least she could play in the pocket (and she can - and did, I heard some of the recordings that night). "These are excellent drummers I'm talking about - excellent! Great live...but the studio?" There was nothing flowery about her praise, it was matter of fact and one peer to another. I knew I'd done right in prep, but couldn't have imagined how grateful the engineer/fellow musicians would be, the excitement with which they would now approach the work, and the trust they now placed in me. Conclusion Metronome me & Slow me...