#How to Achieve the Perfect Guitar Amp Tone

[guitarbomb]

How to Achieve the Perfect Guitar Amp Tone

Achieving the perfect amplifier tone can often feel like a complex puzzle, especially when juggling different volume levels. Whether you’re rocking out on a 5-watt combo or a 50-watt half stack, mastering the art of volume control is essential for your practice space or recording studio. Let’s explore how to get that ideal sound without falling into common traps. 1. Understanding the Volume…

[s-sputnik-k]

as a sidenote, why did I pick this instrument. listen, I fucking love bass as an instrument, but I am NOT built to play it. 5'2 with tiny hands, AND playing metal so I can't possibly get away with a short scale

I bought a headless partially for the precise tuning, but man its also just nice to have an instrument that I can actually reach the end of. same with the fanned frets, I needed that to even reach the 5th string, and it honestly was barely a learning curve to switch from straight frets

okay this wasn't originally going to be a post hyping up headless basses with fanned frets but now it is. if you're considering getting one, do it

just look at this fucking beauty

(bass stuff below cut bc this post got long lmao)

like honestly. never thought I'd get another Ibanez, I figured I'd just save up for a Dingwall. but I don't even like how Dingwalls look (sorry Nolly, even the signature ones), I just like how they sound. like, I COULD just buy the pickups and learn to replace them later on

so when I said I was considering getting a new bass, with fanned frets, and one of my college friends suggested I look at the Ibanez headless range, I was a little iffy because I hadn't previously been considering a headless (ngl I thought it was just a looks thing and didn't really think about the benefits), and I felt like it wouldn't be worth spending all the money just to improve from a good Ibanez to a slightly better Ibanez

but then I found this bass and fell in love. like, I'd been looking for a natural finish on a dark top wood like that for YEARS, I was considering getting a Spector (bc I'm a Tom Doyle copycat, what can I say), but I just hate the round and tall shape of Spector bodies. but this bass is just UGH it's so pretty. it's angular on the sides, which I love, because the roundness of my other bass was something I wasn't a big fan of. and just LOOK at that finish

and it is. so. LIGHT. there are definitely guitars much heavier than this bass, like sure logically if you take the headstock off something, it will be lighter. but I never really considered how much weight they can then strip off the body, because they don't have to account for neck dive as much. like I don't feel weighed down holding it anymore, it's a normal weight

like, I seriously understand why headlesses are so popular in the more technical metal scene, because those instruments are HEAVY, when you need a longer scale length and wider neck for the extra strings. but like. get rid of the head and the negate those issues, AND get the added benefit of precise tuning most of the time (and multiscale bridge, in my case)

and in terms of sound, you can just TELL that all of those strings are at the perfect tension. why did no one tell me how much easier slapping and popping is when your strings are actually a decent distance from the fretboard? I shouldn't need to be told, ik, but I figured that adjusting my action would achieve that well enough, but nah. if the problem is at the saddle then you can't really do much to help it, its always gonna be too tight or too loose

(9 piece walnut neck. ugh just kiss me already)

now, I'll be honest, the EQ is a little disappointing. maybe I just haven't learned to use it to its fullest yet, but the EQ just doesn't feel very effective, getting any tone other than its default heavy twang is really difficult, and actually makes the pickups feel really weak even though it's meant to be a high output instrument--though, it is possible that I'm just used to my last bass having EXTREMELY hot output

the bass (and the strings it came with) does have a naturally very bright tone, which I like, so there's barely any need for adjustments most of the time, but it does mean that if I'm playing anything other than metal (or mayyyybe like, funk), I'm going to need external EQ, at least on an amp but possibly a pedal, to get anything richer than what comes out of the bass. which is fine, that's how most basses are, but when you're boasting about active EQ, I'd hope it's going to be better than a passive tone knob. maybe I'd just had my hopes too high as soon as I heard sweepable mids though, because that IS very promising for a bassist to have just on hand for pre-amp

that being said, that's the only disappointment so far. and it's so vastly overshadowed by how much I love this bass, how comfortable it feels to play. only other mild grievance is that the tuning pegs are super tight and near impossible to adjust when you have to cram your little fingers into slight gap in the body to turn the little plastic cylinders with the least surface friction known to man. BUT it does mean that needing to tune is very rare, and I'm also like 90% sure that those screws in the ends are meant for loosening them to make them easier to turn, I just haven't bothered getting a screwdriver out yet--so that one's definitely on me

also, this bass is peer reviewed, okay. literally every bassist I know has at LEAST complimented it, and so far 4 of them have asked to try it. NOT ONLY THAT, the tech guy who works at my college runs a gear maintenance club that I went to, and he asked if I wanted him see if my bass needed anything doing, and not only did he say it didn't need anything (do you know how well set up something needs to be for a tech guy to say it needs nothing?), he was also genuinely pleased and impressed by the locking jack

oh and um. I got it for £750. go look up how much it's worth, I dare you. okay no come back, it's hard to find on google, I'll just tell you, the original price is somewhere around £1,100-1,300. I got it secondhand on reverb, unused and in perfect condition. the fact I managed to find the exact bass I wanted for that price somewhere in the UK I could actually order from was probably an early sign that it was meant to be

so yeah. I did not intend to write a love letter review of my bass today but here we are. if anyone made it this far I applaud your patience (and your interest, if you're a fellow bass nerd), so as a treat here's a small boy

(hey look we have matching handspans- oh yeah that's what this post was originally about...)

[sakhshimandal]

How Fender Electric Guitars Shape the Sound of Modern Music

The electric guitar has been at the heart of modern music for over seven decades, and no brand has had a more profound impact on its sound than Fender. Known for their iconic Stratocaster and Telecaster models, Fender Electric Guitars have not only endured but thrived across multiple genres—rock, blues, funk, indie, pop, and even hip-hop. But what exactly makes the Fender Electric Guitar such a cornerstone in the evolution of contemporary music? Let’s break it down.

1. The Birth of a Sonic Revolution

When Leo Fender introduced the Telecaster in the early 1950s, it was the first mass-produced solid-body electric guitar. This revolutionary instrument was soon followed by the Stratocaster in 1954. With sleek designs, innovative electronics, and unmatched playability, these guitars gave musicians a new way to express themselves.

The Fender Electric Guitar became a vehicle for creativity. It allowed guitarists to experiment with sustain, feedback, vibrato, and amplified tone in ways that acoustic guitars simply couldn't achieve.

2. Signature Sound: Clean, Crisp, and Versatile

One of the defining characteristics of a Fender Electric Guitar is its distinct tonal clarity. Whether it’s the twangy bite of a Telecaster or the bell-like chime of a Stratocaster, Fender guitars have a recognizable sound that cuts through the mix without overpowering it.

This clarity makes Fender guitars ideal for rhythm and lead work alike. From funk’s clean, rhythmic chops to rock’s soaring solos, Fender’s tone remains unmistakable. Their single-coil pickups are especially loved for producing bright, expressive tones that respond well to picking dynamics and pedal effects.

3. Cross-Genre Dominance

The beauty of a Fender Electric Guitar lies in its versatility. Few instruments can claim as diverse a fan base. Here’s how they fit into different genres:

Rock: Jimi Hendrix, Eric Clapton, and David Gilmour used Stratocasters to define rock’s golden age. Their solos and riffs still influence guitarists today.

Blues: Legends like Buddy Guy and Stevie Ray Vaughan chose Fender for its ability to deliver expressive bends and soulful vibratos.

Funk: Nile Rodgers’ ‘Hitmaker’ Strat laid the foundation for countless funk and disco anthems.

Indie/Alternative: Modern bands like Arctic Monkeys, Red Hot Chili Peppers, and Radiohead often use Fender guitars for their jangly, textured sound.

Pop: In studio production, Fender guitars often serve as a layering tool to add melodic accents or rhythmic texture.

4. A Canvas for Pedals and Effects

Fender’s relatively neutral tone also makes it the perfect partner for effects pedals. Whether you're adding reverb, delay, distortion, or modulation, the Fender Electric Guitar serves as a clean canvas. This adaptability has helped it thrive in the era of digital effects, amp modeling, and home recording.

Today’s guitarists demand sonic flexibility, and Fender delivers—whether it's for stage performance or bedroom recording setups.

5. Innovation Meets Tradition

Fender has managed to innovate without losing its core identity. The brand now offers models with noiseless pickups, compound neck profiles, and built-in digital interfaces—all while preserving the design and tone that made it famous.

Additionally, Fender's Player, Vintera, and American Professional series cater to players of all levels, making iconic tone more accessible than ever.

6. Endorsements and Influence

When musicians from vastly different eras and styles—from Buddy Holly to John Mayer—consistently choose the Fender Electric Guitar, it speaks volumes. These endorsements are not just brand deals—they're acknowledgments of Fender's influence on musical expression.

Social media, YouTube tutorials, and online music schools further amplify Fender’s reach, ensuring that the next generation of musicians continues to adopt the brand.

Conclusion

The Fender Electric Guitar has helped shape the sound of modern music not only by offering sonic brilliance but by being a reliable, innovative tool for artists across generations. From garage bands to Grammy-winning acts, its presence is as prominent today as it was 70 years ago. If music is a language, then Fender is one of its most articulate voices.

[pratimadheer]

How to Get the Best Tone from Your Guitar Amp: Tips and Tricks

Achieving the perfect guitar tone is an essential part of any guitarist’s journey. Whether you're playing live, recording in the studio, or jamming at home, your guitar amp settings can make or break your sound. Getting the best tone isn’t just about buying the most expensive amp—it’s about understanding how to tweak your settings, use the right gear, and optimize your playing technique.

In this guide, we’ll explore key tips and tricks to help you unlock the best sound from your guitar amp, regardless of your skill level or music style.

1. Understanding Your Amp’s Basic Controls

Every guitar amp has a set of fundamental controls that shape your tone. Let’s break them down:

Gain: Controls the amount of distortion or overdrive. Higher gain leads to a heavier, more saturated tone, while lower gain keeps it clean and crisp.

Bass: Adjusts the low frequencies. Increasing bass adds warmth, but too much can make the tone muddy.

Mid: Controls the midrange frequencies. Boosting mids helps your guitar cut through the mix, especially in a band setting.

Treble: Adjusts high frequencies. Too much treble can make your tone harsh, while too little can make it dull.

Volume (Master/Channel): Controls the overall loudness. Be mindful of how volume interacts with gain to avoid unwanted distortion.

Presence (if available): Adds clarity and brightness to the tone, particularly useful for live performances.

Tip: Start with all EQ settings at 12 o’clock (midway position) and adjust based on your guitar, pickup type, and playing style.

2. Matching Your Amp to Your Guitar and Playing Style

Different amps suit different guitars and music genres. Here’s a quick guide:

Fender-style amps (e.g., Twin Reverb, Blues Junior): Best for clean tones, blues, country, and jazz. Works great with single-coil pickups (e.g., Stratocaster, Telecaster).

Marshall-style amps (e.g., JCM800, DSL series): Famous for rock, hard rock, and classic metal. Pairs well with humbuckers (e.g., Les Paul, SG).

Mesa/Boogie and Peavey (e.g., Dual Rectifier, 5150): Ideal for high-gain metal, heavy rock, and modern punk. Great for active pickups and extended-range guitars.

Vox-style amps (e.g., AC30, AC15): Known for chimey cleans and British crunch, perfect for indie, alternative, and classic rock.

Tip: Your amp’s natural tone should complement your guitar’s pickups and genre. For example, a Strat with a Vox AC30 gives a legendary British rock tone, while a Les Paul with a Marshall stack delivers powerful hard rock sounds.

3. Setting Up the Right Gain and Volume Balance

One of the biggest mistakes guitarists make is overloading gain, resulting in a muddy or undefined sound. Here’s how to find the right balance:

For clean tones, keep gain low and volume higher.

For classic rock and blues, set moderate gain with mid-level volume to allow amp overdrive.

For metal and hard rock, increase gain but not to the max, and use EQ to maintain clarity.

If your amp has a Master Volume, push the preamp gain for saturation while keeping the master volume at a comfortable level.

Tip: Many classic rock tones come from cranking the amp's volume rather than just increasing gain. Tube amps sound best when they’re driven hard.

4. Using Effects Pedals to Enhance Your Tone

A great amp tone can be further shaped with pedals. Here are a few key ones:

Overdrive/Distortion: Adds extra grit and sustain. Try boosting an already overdriven amp with a pedal like the Ibanez Tube Screamer.

EQ Pedal: Helps fine-tune frequencies to make your tone sit better in a mix.

Reverb & Delay: Adds depth and space—important for both lead playing and ambient textures.

Compressor: Smooths out dynamics and enhances sustain, especially useful for funk, country, and clean leads.

Noise Gate: Reduces unwanted hum and feedback in high-gain settings.

Tip: Place modulation effects (chorus, flanger, phaser) after distortion, and place time-based effects (reverb, delay) at the end of the chain.

5. Speaker and Cabinet Considerations

Your amp’s speaker and cabinet play a huge role in shaping tone. Consider these points:

Speaker Size:

10-inch speakers = Tighter, punchier tone (great for blues and country).

12-inch speakers = Fuller, warmer tone (preferred for rock and metal).

Cabinet Types:

Open-back cabs = Airier and more resonant, great for blues and rock.

Closed-back cabs = Focused low-end, perfect for metal and heavy rock.

Tip: Upgrading your amp’s speaker can significantly improve tone without changing the amp itself.

6. Room Acoustics and Mic Placement (for Recording and Live Sound)

Where you play affects how your amp sounds:

In small rooms, sound can get too boomy. Use rugs, foam, or curtains to absorb excess reflection.

For recording, mic placement matters. A Shure SM57 placed close to the speaker will capture tight and direct tone, while pulling it back adds natural room ambience.

For live gigs, experiment with mic positioning to avoid excessive bass buildup or harsh treble.

Tip: If playing at home, use lower volume with proper EQ settings to avoid an overpowering, unbalanced sound.

Final Thoughts: Crafting Your Signature Tone

Getting the best tone from your guitar amp requires a mix of understanding amp settings, using the right gear, and refining your playing style. Here’s a quick recap:

✔️ Start with a neutral EQ setting and tweak based on genre. ✔️ Balance gain and volume for clarity. ✔️ Match your guitar, amp, and cabinet for the right sound. ✔️ Use effects pedals wisely to enhance (not overpower) your tone. ✔️ Consider room acoustics and mic placement for recording and live settings.

Your ultimate guitar tone comes from experimentation and practice—so tweak, play, and develop a sound that’s uniquely yours!

[neutron2]

Download Bogren Digital – Plugin Bundle

If you’re a guitarist, bassist, or music producer searching for the ultimate amp simulation software, the Bogren Digital Amp Suite is your answer. This premium plugin bundle, crafted by renowned producer Jens Bogren, is a game-changer for anyone looking to achieve professional, mix-ready tones with ease. In this guide, we’ll walk you through how to download Bogren Digital – Plugin Bundle and explore why it’s a must-have tool for your music production arsenal.

Why Bogren Digital Amp Suite Stands Out

The Bogren Digital Amp Suite is not just another amp simulation plugin—it’s a meticulously designed collection of guitar and bass amp models that deliver unparalleled realism and versatility. Whether you’re crafting crushing metal riffs, soaring solos, or punchy basslines, this suite has you covered.

Here’s what makes it exceptional:

Hyper-Realistic Amp Modeling: Experience the responsiveness and authenticity of real tube amps.

Mix-Ready Tones: Instantly achieve professional-quality sounds without endless tweaking.

User-Friendly Interface: Designed for both beginners and pros, it’s intuitive and easy to use.

Versatility: Perfect for metal, rock, and clean tones, making it a one-stop solution for all genres.

Key Features of Bogren Digital Amp Suite

Guitar Amp Simulations

AmpKnob – BDH 66o6 Plus: Iconic high-gain amp for tight, aggressive metal tones.

AmpKnob – BDH 5169: Raw, tube-driven distortion for modern rock and metal.

AmpKnob – BDH III: A versatile high-gain beast for massive riffs and solos.

AmpKnob – MLC S_Zero 100: From crystal-clear cleans to monstrous distortion.

AmpKnob – RevC: One-knob simplicity for the ultimate mix-ready metal tone.

AmpKnob – Trivium Lead & Rhythm: Signature tones for searing solos and crushing riffs.

Bass Amp Simulations

BassKnob – STD: Studio-quality bass amp with punchy lows and clear mids.

BassKnob – Trivium: Signature Trivium bass tone for clarity and power.

Advanced Tone Shaping

IRDX Core: Revolutionary Impulse Response (IR) technology for sculpting the perfect tone.

How to Download Bogren Digital – Plugin Bundle

Ready to elevate your music production? Follow these steps to download the Bogren Digital Amp Suite:

Visit the Official Download Page: Head over to PluginDad to access the plugin bundle.

Choose Your Operating System: The bundle supports both Windows OS (10 or 11) and Mac OS. Ensure your system meets the requirements (4GB RAM, 1.7GB hard drive space).

Select Your Plugin Format: The suite is available in AU, VST, and VST3 formats, making it compatible with most DAWs.

Complete the Purchase: Follow the on-screen instructions to purchase and download the bundle.

Install and Activate: Once downloaded, install the plugin and activate it using the provided license key.

Why Choose Bogren Digital Amp Suite?

The Bogren Digital Amp Suite is more than just a plugin—it’s a gateway to professional-grade tone. Whether you’re a bedroom producer or a seasoned musician, this bundle offers the tools you need to create studio-quality music.

With its hyper-realistic amp modeling, mix-ready presets, and user-friendly interface, it’s no wonder that this plugin bundle is a favorite among guitarists and producers worldwide.

Final Thoughts

If you’re serious about your music, the Bogren Digital Amp Suite is an investment worth making. From crushing metal tones to sparkling cleans, this plugin bundle delivers unmatched versatility and quality.

Don’t wait—download the Bogren Digital – Plugin Bundle today and take your guitar and bass tones to the next level.

[plugindad]

Download Native Instruments Guitar Rig 7 Pro

Native Instruments Guitar Rig 7 Pro is a revolutionary tool that brings your musical visions to life with unparalleled precision and creativity. 🎸🔥 Whether you’re a professional guitarist, a budding musician, or a music producer, this software delivers everything you need to craft mesmerizing tones and effects. Let’s guide you on how to download and explore its full potential.

Why Choose Guitar Rig 7 Pro?

Guitar Rig 7 Pro is powered by Intelligent Circuit Modeling (ICM) technology, offering a perfect blend of vintage amplifier vibes and modern precision. Here’s what makes it the ultimate guitar and bass modeling powerhouse:

Iconic Amplifiers: Explore four new amps like the Super Fast 100, Reverb Delight, AC Box XV, and Bass Rage, each modeled to replicate legendary tones with stunning detail.

Cabinet IR Loader: Create authentic soundscapes with impulse responses from top-notch manufacturers.

Next-Level Effects: Unleash creativity with unique pedals and rack effects, including Kolor, Chainsaw, Seattle Fuzz, and more.

100+ Presets: Effortlessly find inspiration with presets designed for diverse genres.

Live-Ready Features: Stream, record, or perform live with tools like Loop Machine Pro and the iZotope Ozone Maximizer.

Step-by-Step Guide to Download

Downloading Guitar Rig 7 Pro is quick and easy. Follow these steps to get started:

Visit the Official Product Page Head over to Plugindad to access the download link for Guitar Rig 7 Pro.

Check System Requirements Ensure your system meets the minimum requirements:

Operating System: macOS 11.5 or later, Windows 10/11

RAM: At least 4GB

Hard Drive Space: 1GB free storage

Plugin Formats: AU, VST, VST3, AAX

Choose Your Version Select the compatible version for your operating system (macOS or Windows).

Add to Cart & Checkout Add the software to your cart, proceed to checkout, and complete the purchase process.

Download and Install After purchase, download the installer file and follow the on-screen instructions to install Guitar Rig 7 Pro on your system.

Activate the Software Use the provided activation code to unlock all features and start exploring.

Features That Set Guitar Rig 7 Pro Apart

Immersive Soundscapes: Utilize the Cabinet IR Loader to achieve legendary speaker cabinet tones.

Unique Effects Palette: Experiment with Vinyl Crackle, Tape Wobble, and Lo-fi vibes using Noise Machine.

Live Looping: Enhance your live performances with Loop Machine Pro.

Seamless Integration: Supports major DAWs, ensuring smooth workflow integration.

Take your music to the next level with Guitar Rig 7 Pro. Download now and redefine your sound! 🎶✨

[learnhowtocreatemusic]

Top 6 Common Guitar Recording Mistakes to Avoid for Better Sound Quality

Recording guitar can be a rewarding yet challenging process. Capturing the perfect tone and achieving professional sound quality requires attention to detail. Unfortunately, even small mistakes can make your recordings sound amateurish or lackluster. In this blog post, we’ll cover six common guitar recording mistakes and how to avoid them for a cleaner, more polished sound.

1. **Neglecting Proper Tuning**

One of the simplest yet most overlooked mistakes is not ensuring the guitar is properly tuned before recording. Even if the tuning is slightly off, it can make the whole track sound out of key and unprofessional. Guitars can easily slip out of tune during sessions, especially when recording multiple takes.

**How to Avoid It:**

- Always tune your guitar before each take, and check the tuning periodically throughout the recording session.

- Use a reliable tuning pedal or app to ensure precision.

- Consider using a guitar with good tuning stability or locking tuners to avoid frequent re-tuning.

2. **Choosing the Wrong Mic Placement**

Microphone placement plays a crucial role in how your guitar sounds on the recording. Placing the mic too close to the sound source may result in a boomy or overly bass-heavy sound, while placing it too far can make the recording sound distant or thin. Experimenting with mic placement is essential to capturing the best tone.

**How to Avoid It:**

- For acoustic guitar, start by placing a condenser microphone around 12 inches away from where the neck meets the body of the guitar. Adjust the distance and angle depending on the sound you want to capture.

- For electric guitar, place the mic (usually a dynamic mic like the Shure SM57) off-center from the speaker cone to avoid harshness.

- Always monitor your sound as you adjust the placement to find the sweet spot.

3. **Overloading the Gain or Input Level**

Recording with the gain set too high can lead to unwanted distortion or clipping, which causes unpleasant, distorted artifacts in your sound. On the other hand, setting the input level too low can result in weak recordings with too much background noise. Striking a balance is key.

**How to Avoid It:**

- Use your audio interface’s input gain controls to ensure that your signal peaks between -6 dB and -3 dB. This gives you headroom without risking distortion.

- Monitor levels during the recording to ensure consistency.

- Remember, it’s easier to boost a low-level signal during mixing than to fix a clipped recording.

4. **Using Old or Worn-Out Strings**

Guitar strings lose their brightness and sustain over time, making your guitar sound dull or lifeless. Recording with old strings is one of the most common mistakes that can negatively affect your tone.

**How to Avoid It:**

- Always change your strings before an important recording session, especially if you haven’t changed them in a while.

- If you want a bright, punchy tone, opt for new strings. For a warmer sound, you can record with slightly broken-in strings (but not too old).

- Keep a backup set of strings handy during long sessions in case of breakage or wear.

5. **Ignoring Background Noise**

Background noise can be a major issue, especially when recording in a home studio. Noises such as hums, air conditioning, street sounds, or even the sound of your chair creaking can be captured by sensitive microphones, compromising the quality of your guitar recording.

**How to Avoid It:**

- Record in a quiet, isolated space where you can control external noise.

- Use noise gates or high-pass filters to eliminate low-level hums and background noise.

- For electric guitar recordings, eliminate amp hum by using balanced cables and grounding your equipment.

6. **Not Double-Tracking Guitars for Fullness**

Recording a single guitar track often leads to a thin sound that doesn’t fill out the mix. One common mistake is forgetting to double-track (recording the same part twice on separate tracks) guitars, which can add depth and fullness to your sound, especially in rock and pop music.

**How to Avoid It:**

- Record the same guitar part twice on separate tracks, panning each take hard left and right. This creates a fuller, wider stereo image.

- Be sure that both takes are as tight as possible for a cohesive sound.

- Experiment with slightly different tones or guitar settings for each take to add more texture and dimension.

Final Thoughts

Avoiding these common guitar recording mistakes can significantly improve the sound quality of your recordings. Whether you’re working on an acoustic track or a full electric arrangement, proper tuning, mic placement, and attention to detail can make a world of difference. By following these tips, you’ll be well on your way to capturing clean, professional-sounding guitar tracks that stand out in your mix.

Happy recording!

[aaryan-mwa-blogs]

Understanding the Different Types of Guitar Pedals and Their Uses

Guitar pedals are essential tools for shaping and enhancing your sound, whether you’re jamming in your bedroom or performing on stage. With a plethora of options available, understanding the different types of guitar pedals and their uses can help you create the perfect rig for your musical style. Let’s dive into the world of guitar pedals and explore how they can transform your sound.

1. Distortion and Overdrive Pedals

Distortion and overdrive pedals are the backbone of rock and metal tones. They add grit and sustain to your sound, creating a powerful, crunchy tone. Distortion pedals, like the Boss DS-1, provide a more aggressive sound, ideal for heavy riffs and solos. Overdrive pedals, such as the Ibanez Tube Screamer, offer a warmer, more subtle breakup, emulating the sound of an overdriven tube amp. These pedals are perfect for blues, rock, and country music.

2. Delay and Reverb Pedals

Delay and reverb pedals add space and dimension to your playing. Delay pedals, like the Boss DD-7, create echo effects by repeating your notes at set intervals. They can produce anything from a subtle slap-back to long, atmospheric repeats. Reverb pedals, such as the TC Electronic Hall of Fame, simulate the natural reverberation of different spaces, from small rooms to vast cathedrals. These pedals are essential for adding depth and ambiance to your sound.

3. Modulation Pedals

Modulation pedals offer a variety of effects that can drastically change your tone. Common types include chorus, flanger, and phaser pedals. Chorus pedals, like the MXR M234 Analog Chorus, add a shimmering, doubling effect to your sound, making it richer and more vibrant. Flanger pedals, such as the Electro-Harmonix Electric Mistress, create a sweeping, jet-like sound by mixing delayed signals with the original. Phaser pedals, like the MXR Phase 90, produce a swirling, spacey effect by altering the phase of your signal. These pedals are great for adding movement and texture to your playing.

4. Wah and Filter Pedals

Wah and filter pedals shape the tonal qualities of your sound by emphasizing certain frequencies. Wah pedals, like the Dunlop Cry Baby, create a sweeping, vocal-like effect by rocking a foot pedal back and forth. They are perfect for funk, rock, and expressive solos. Filter pedals, such as envelope filters, automatically respond to your playing dynamics, creating funky, auto-wah effects. These pedals are excellent for adding rhythmic and dynamic interest to your performance.

5. Compression Pedals

Compression pedals, like the MXR Dyna Comp, even out the dynamic range of your playing by boosting quieter signals and taming louder ones. This results in a more consistent and polished sound. Compression is especially useful for clean tones, fingerpicking, and adding sustain to solos. It can help your guitar sit better in a mix, whether you’re recording or playing live.  

Incorporating Pedals into Your Rig

When building your pedalboard, consider the order of your pedals, as it can affect your overall sound. A common signal chain might look like this: tuner > wah > compression > overdrive/distortion > modulation > delay > reverb. However, there are no strict rules — experiment with different setups to find what works best for you.

Start with the essentials that match your musical style, then gradually expand your collection. Don’t forget to invest in a good power supply and quality cables to ensure your pedals perform reliably. Guitar pedals are powerful tools for shaping your sound and expressing your musical creativity. By understanding the different types and their uses, you can build a rig that enhances your playing and helps you achieve your desired tone. Whether you’re a beginner or a seasoned pro, exploring the world of guitar pedals by visiting well known shops like VIP PRO AUDIO in Brooklyn can open up new sonic possibilities and elevate your performances. Happy playing!

[charlesmwa]

How to Select the Best Microphone for Your Voice or Instrument

Choosing the right microphone is crucial for capturing the best sound quality, whether you're recording vocals, amplifying an instrument, or performing live. Here’s a guide to help you understand the different types of microphones and how to select the best one for your needs.

Understanding Microphone Types

1. Dynamic Microphones: These are durable and can handle high sound pressure levels (SPL), making them ideal for live performances and loud instruments like drums and electric guitars. They are less sensitive to subtle sounds, which helps in noisy environments.

2. Condenser Microphones: These are more sensitive and provide a wider frequency response, making them perfect for studio recordings, vocals, and acoustic instruments. They require a power source, such as phantom power, to operate.

3. Ribbon Microphones: Known for their vintage sound quality, ribbon mics are delicate and mostly used in studio settings. They capture high-frequency details and are great for vocals and strings.

Choosing Based on Use Case

• Vocals: For live vocals, a dynamic microphone is a classic choice due to its durability and ability to handle loud volumes. For studio vocals, a large-diaphragm condenser mic offers detailed sound and clarity.

• Acoustic Instruments: Condenser microphones are generally preferred. For example, small-diaphragm condensers work well for guitars and pianos due to their accurate transient response.

• Drums: Use dynamic mics for close miking individual drums and     condenser mics as overheads to capture the cymbals and overall kit ambiance.

• Electric Guitars and Basses: Dynamic mics are ideal for amplifiers, as they can handle high SPLs and capture the amp’s tone accurately. Important Features to Consider

• Polar Patterns: This describes how a microphone picks up sound from different directions. Cardioid mics are unidirectional and pick up sound from the front, making them great for isolating the desired source. Omnidirectional mics pick up sound equally from all directions, which is useful for capturing ambient sound.

• Frequency Response: Different mics emphasize different parts of the frequency spectrum. For instance, a mic with a pronounced     high-frequency response might be better for cymbals, while one with a solid low-end response might be better for bass instruments.

• Impedance: Low-impedance microphones are better for professional audio as they can maintain signal quality over longer cable runs.

Selecting the right microphone involves understanding your specific needs and the characteristics of the microphones available. It is always advisable to check the correct mic from a professional shop such as VIP PRO AUDIO as by matching the right mic to your voice or instrument, you can achieve the best possible sound quality for your recordings and performances.

[sugar-petals]

Bts voice analysis anon here! I just wanted to thank you for taking the time to respond ❤ it made complete sense why yoongi is the deepest I kinda feel bad for him everytime he wants to sounds cheerful or speak in a way so people can hear him he strains his voice

lot to talk about, i’d like to expand on this. especially what his voice being the deepest means for bts’ songs. plus, where his undiscovered vocal talents are, and in what manner his voice will not strain.

that he’s very introverted contributes to what you say, but yoongi is certainly the odd one out voice-wise, such low baritones hardly sound upbeat. similar to how taehyung being the odd one out in the vocal line whose head voices are literal superpowers. i really respect him for singing with jin and jimin who can climb one octave higher than him, up to C#5! and with jk who has the best technique and breaks into the 6th octave if he goes on like that.

it’s very much like yoongi who probably has to mix their tracks back and forth to fit his parts with hobi (who is a tenor as a rapper! — very uncommon) and namjoon who raps in several modes. very low, very high, very impactfully. he’s the most full-bodied baritone in the group even if he’s only the third-deepest. the tone is just so rich. both hoseok and RM are extreme vocal chameleons on top of that. in speaking and in their music you can hear the difference to yoongi all the time. they don’t suddenly drop in pitch and they’re vocal acrobats.

hobi in particular, this guy can do anything. the sheer agility my god, he connects his registers. he can go up and down, impersonate and do a million effects, adlibs, you know the drill. it’s him who actually owns the “cheerful/loud and clear” brand you mention. which is good if not fantastic for yoongi’s production endeavours, the group mood, and how bts cannot be ignored — but tough for yoongi’s voice and comparison thinking, and when he tries to make a point in interviews. maybe it’s not bad that bts have to slow down sometimes to let yoongi speak, but his tone is drowned out (not intentionally of course) in other occasions and he wakes up hoarse often as we saw. which might sound hot, but it’s not good for him as you say.

to be clear. i wouldn’t chalk down his more monotonous and silent tone as a weakness, it’s just outside of bts’ other vocal variety. he makes up for it with speed and good lungs anyway. we just have to listen more closely to him in talks/episodes/conferences but i think he shouldn’t worry about it either or try to sound more enthusiastic, the fans love his soothing speech for its pure sake. he does change it regardless to be more poignant and blend in. it has pros and cons but it wears him out.

yoongi’s voice is under that strain not just in conversation but also in the studio if he wants to bring connection to the rap line parts instead of having 3 songs in 1. which usually ends up happening anyway. that’s also why the cyphers (!) switch genres mid-song so often: their voices are all strong in different registers! yoongi the lowest, joon midrange, and hoseok up high. 

that’s why cypher pt2 is a HUGE stunt and production masterpiece: hoseok’s part is tuned differently, then other instrumentals start with namjoon. and you can literally hear, okay alright a deep voice is coming! from there it just gets deeper and deeper until yoongi is just rapping over a bass guitar (every baritone’s best friend lmao!). god, please give yoongi a big bassline for his every part. “ugh” is the exact opposite: yoongi has to start too high and namjoon also has problems with the key, only hoseok can fully take off after 1:50 with perfect vocal stability. guess which song is autotuned: it’s not cypher pt2! a 3 in 1 song fuels the rapline in a way where they are most comfortable. it’s crazy how far apart they are among each other vocally and it has to be considered.

it’s a dilemma but also why bts’ rap line can tackle any song with at least one member suiting it. they complement each other, every register (except the rare whistle register, aka what mariah/ariana do) is covered. i think that contributed to bts’ fame, it’s so important. however usually, the song caters to hoseok since tenors are preferred in kpop music, or it caters to RM as he’s the central songwriting entity even if mind you, he always thinks about all the members and works closely with yoongi.

but even with joon’s support, it doesn’t work if yoongi is caught in his wish to be a tenor. we’ve seen how much the guy talks about wanting his range to become wider and how he even tried singing quite high for his standards on d-2. he goes as far as collabing only with sopranos to help him achieve that pitch. yoongi is invested to pretty much change his entire vocal type 🙁because the environment simps for high notes so bad (which is fair, falsetto is related to releasing certain happy hormones and highlights parts in songs, but still).

... he actually can’t, unless he wants to damage his throat. that’s the last thing we want. a listener can get the serotonin from a very deep voice equally if they got good taste.

thing is. you cannot morph yourself into a different vocal type and shift your range to the opposite of your comfort zone unless you’re whitney houston. even one in a million tenors like baekhyun can’t make themselves a baritone. his lowest notes are less clear no matter how hard he practices, even if his chest voice is almost operatic and his technique excels. meanwhile, chanyeol (who’s a lyric baritone and exo’s deepest voice) effortlessly hits them without (!!) that kind of decade-long training. have baekhyun or jimin been called bad singers for not being able to cover the other end of the spectrum? nope. so: why would yoongi be a bad vocalist who needs autotune. with lessons, oh man, he could do a lot and many things he dreams of. he has a very unique timbre and enough musical knowledge to do so.

so, we see the magic of your natural supported range. it’s simply given to you. imagine that: if you know you’re not a tenor, you could sort of outsing jungkook — obviously not by technique, but projection— as long as the song is tailored to you and the notes are low enough. yep, jk’s lower register is not extremely forward. each note is perfectly sung because he’s jk, but his power vocals are settled much higher. joon/tae/yoongi would sound much fuller with huge oomph in those lines. that’s where yoongi would be much more clear-sounding to us. a lot of baritone rappers in kpop would be damn good singers. 

that’s why it’s good how a lot of rappers produce solos on their own so they can try it out. 

you just have to respect that your range usually (not always) goes in one direction. once yoongi rightfully decides to abandon his high note fantasy and goes lower just for fun, we are not safe anymore lmao! exception for range: female singers have an advantage there. trained mezzo-sopranos have great access to the head voice and lower registers since they’re in the perfect middle of the scale. but the guys, forget it, even the baritenors. yoongi’s fullest voice will always be coming from a chesty depth and we love him for it. guy just needs to realize.

that’s why his real challenge is rather somehow tweaking the rap parts so his voice finds good resonance like in “혼술” or even “ddaeng”. where his voice is strong, relaxed, and full and flowing. ddaeng — “boy with luv”, too— is ironically in a very high pitch and again caters to hobi’s tone the most, but: yoongi just scales down to his own octave and it still fits, so — great key choice and musicality! and adaptation. it’s not easy to do. you can tell he plays piano.

he either becomes less easy on the ear or has to autotune himself entirely if he works against his voice. or: goes on a track way outside his supported range (dynamite, WOW). it’s a shame. “daechwita” and “agust d” are such a case: both go into the head voice where your resonance should show the most aka the chorus. there are aggressive belts/snarls/shouts that make more sense for higher, trained voices. yoongi is most famous for raps that are literally designed to fuck up his vocal cords 😷that he’s so skilled as a rapper prevents him from that to a degree, but it’s still not healthy. he adapts a lot to bts’ overall delivery but he doesn’t have to, in fact: he could go in the other direction and it would work even better.

the reason for the title track issue: they are the most energetic. in k-pop, energetic means amping up the pitch. and that’s probably a logical choice and a natural human association. if you make a baritone kpop track with a lot of energy, it probably becomes pretty creepy, uneasy, film noir. but i think that’s exactly yoongi’s thing: to unsettle and critique and rage. i think it could work out. lil nas x is a baritone pulling it off. he achieves energetic title tracks, he honors his vocal type well imo. his live singing is cool af, i need this so hard in the rap landscape. so, it’s not impossible to do.

the trick is probably setting everything to minor key. surprise... yoongi’s challenging title tracks are all in major key. boy with luv: minor key, interesting. the former are extremely difficult for him to do so hats off. “shadow” is more suitable for his baritone as is “burn it”. it needs a very heavy, dark track. which is why it’s good that yoongi has that kind of public image. a baritone’s best genre is not super light and whimsical. that’s why all of our baritone faves are not main vocalists but main rappers. kai, taehyung, jaehyun: low voices in vocal lines are soldiers.

---

now a note on yoongi’s best method of singing since it reflects his voice type and brings out the fullness of it. as in, how does it crack and strain less? guess why “사람” is yoongi’s favorite d-2 song to sing. it’s ALL his comfortable range and the singing — very beautifully done —  is in mixed register (= head + chest)! which imo might be his secret weapon. it allows him to do what he longs to do successfuly without going extremely high. bingo.

because: even with baritones, the golden middle is still important. they’re not as deep as a bass, after all. that’s why their voices are so honey-laced in the mixed range and it sounds amazing. heaven, their timbre sounds so seductive. so, it’s wonderful when they find their middle and dare to sing. 

i wish yoongi gets/makes more tracks aimed at just that. in “outro tear” he has to go both too low and too high so it takes a lot of production effort to patch it together. the rapline is doing god’s work to make all their voices sound cohesive without being trained singers. it’s always a trade-off and risk, an immense balance act. “paldogangsan” is hard on yoongi’s voice but works as a whole plus it caters to namjoon to carry the song’s message. the cyphers are chopped up and not chart-friendly but each member is in their comfort zone. 

PS: i said bts’ rap line covers all registers except one. i think that jin is the one to complete bts’ entire spectrum coming from the vocal line. i’m no whistle note expert but dionysus went pretty high up there, i think he might be able to do it. it’s very impressive, even jungkook and jimin probably don’t have access to that register. so, another point for bts being a very ‘complete’ group.

[jessconrad]

Fine Line by Harry Styles: The Sunshine We Needed Through A Very Dreary Year

Or An Album Review (One Year Later)

On December 13, 2019, Harry Styles graced the world with his second studio album, Fine Line, and I don’t think it has ever left my Recently Played section on my Spotify account since its release.

I honestly don’t know how I would have survived 2020 without this album. As I reflect on everything this year had to offer, I realized this record will always shine through as it is tied to my best memories of the year.

I listened to this album a lot, with three of my five top songs from my Spotify Wrapped coming from Fine Line. (They were “Sunflower, Vol. 6″, “Golden”, and “To Be So Lonely”, respectively, if you were curious!)

I spent dull afternoons in January walking around the freshly snow covered ground on my college campus blasting “Lights Up” in my headphones. This single was released in October 2019, two months prior to the release of Fine Line, and had been a top favorite of mine with its 70s soulful style. Not to mention, the small choir of backup singers and layering synth gave me an almost nostalgic as the Christmas season started to come to an end. This song was all about finding who you are- and I was starting to figure out who I am with it.

The next month I visited Denver for a conference and I began noticing how this record was starting to become the soundtrack to my year. February’s track was “Sunflower, Vol. 6″ where I started to feel my attachment to this song. I am not sure if it was the mesmerizing lyrics, the drums, or even the Indian instrument known as a sitar that made me really hooked to this song... But as I walked through the streets of rainy Denver (which would normally make me feel very gloomy), I couldn’t help grinning from ear-to-ear as I listened to this song. It’s the feel-good musical track you listen to, in whatever mood you’re in.

Sometimes I can’t fathom how apocalyptic March felt. The beginning of March was completely normal, and I was at my peak. Looking back now, I can’t wrap my head around that I attended five live shows within one week during that month. But all good things come to an end, right? And of course suddenly, it all came crashing down. I was sent packing up my college freshman dorm and moved back home with my parents while juggling all my courses remotely. There was a song that I was always replaying though, and that was “Golden.” Arguably one of the most upbeat tracks on Fine Line, next to “Sunflower, Vol. 6,″ but the lyrics say otherwise. As the opening track, it has a very chill pop vibe, but listen closely to the lyrics. The contrast pulls at my heartstrings every. single. time.

“Cherry” and April go hand-in-hand for me. As I continued to navigate my thoughts and feelings with the pandemic, struggling with the course load of online courses, and overall the anxiousness of all the unknowns- “Cherry” was the comfort I needed. With its soft acoustic guitar, it is the perfect song for any in-your-feels playlist. And trust me when I say that the fragility of “Cherry” really helped me when I was in my feels. 

Arguably the biggest summer hit of this year was “Watermelon Sugar,” and my go-to anthem of wanting to feel any normalcy of a summer that I stayed mostly indoors for. I remember when the music video dropped in May, I was grabbing coffee with a friend and begged her to watch the video with me. We sat in her car in the middle of a park, watching the YouTube video count down to the premiere of “Watermelon Sugar”. That “this video is dedicated to touching” opening message made me laugh and realized how truly brilliant Harry’s mind is. The warm, very enjoyable tune made this the perfect summer anthem with its really good electric guitar and slide guitar mixed with the horn. It’s the one song that will stay in your head for weeks.

Another song that feels like summer to me is “Canyon Moon.” In the end of June, I went ‘glamping’ (otherwise known as glamorous camping, we stayed in a very nice tiny house in the middle of the most wooded area that Nebraska could get) with my family. It’s a very upbeat song with a nostalgic feel, and the fun instrument rhythms can’t help but make you beam. The song also experiments with a dulcimer; a musical instrument with a long rounded body and a fretted fingerboard played by bowing, plucking, and strumming. I think this is what makes the song more upbeat and happy, especially the beginning as well as the slide guitar giving it unique sounds throughout. It personally is one of my least favorites on the album, but it does make me think of warm summer days and spending time with family every time I do listen to it.

July was starting to feel a little rough for me again. I was really getting tired of staying indoors and barely seeing any of my friends. I was really longing to go back to school and being around my people again. “To Be So Lonely” was a song that felt like it really understood me. Harry revealed in an interview with Rolling Stone that the song was composed on a guitalele, which resembles the sound of guitar, for that light and upbeat tone that the chords give off, backing the lyrics. It’s the perfect song you listen to when you’re sad, and you’re ready to push past it. And I knew that I was ready to push past my sadness because I had one more month until I was surrounded in community.

“Adore You” was the second single of Fine Line that was released. This song is filled with so much love and passion- and it was the same immense feelings I had in August when I got ready to move back to my college town and see all my friends again. As I packed my bags and moved into my sorority house, I constantly played this song. What can I say? This was a really great song to vibe with, especially with the opening keyboard and the consistent bass that you cannot help but groove to!

Out of all the months of this year, surprisingly September was one of my darkest. With only two weeks living into my sorority house, I made the decision to move out for the safety of mine and my family’s health. I moved back in with my parents again during this month, and I felt completely lost. “Falling” had the same underlying message of being lost. This love ballad displays a theme of brokenness and creates a tone of unhappiness- the perfect song for a post-breakup or an in-your-feels playlist. I had this song on repeat more times than I can count- the soft piano setting a broken and lonely tone. 

The beginning of October began to really turn around for me. I moved into an apartment with one of my best friends and I was back in my college town. I was starting to find community again and “Treat People With Kindness” became this month’s anthem. Coined after Harry’s Treat People With Kindness (TPWK) campaign, this song has a 1970s sound and makes you want to dance along with the catchy choir lyrics such as “Maybe we can/Find a place to feel good/And we can treat people with kindness”. The lyrics were very prevalent in my life, especially with the amping news of the presidential election and the continuation of the pandemic. This song was the best reminder to be kind to myself, and those around me. And let’s not forget the conga sound throughout! I believe Queen would have been very proud of this underrated track.

The timeless mature sound of “She” could have not fit November anymore. I celebrated my twentieth birthday this month (which of course included a Harry Styles themed birthday party with my roommate and some close friends). The guitar kicking in at the chorus giving so much emotion to Harry’s voice, and that’s exactly how I felt around my birthday. Lots of emotions. Not to mention, the guitar solo played by Mitch Rowland sounds like it could have been something that was released years ago, with a little modern touch. It’s growing to be one of my personal favorites on the album.

Lastly, we get to December and I felt as if this year was the longest year of my life (but also flown by way too quick). The song that resonated with me most this month was “Fine Line,” the last track of the album (and the longest at 6 minutes and 16 seconds). My favorite memories in December consist of driving around with my friend, looking at all the Christmas lights as we drink hot cocoa and blast “Fine Line”- singing our hearts out to the repetitive lyrics of “we’ll be fine line” and “we’ll be alright.” Harry discussed in an interview with Capital FM that this song would always be the last on the album, and how fitting that I resonated with this song most in the last month of the year. “Fine Line” represents the ups and downs of life, and the thin line that separates the two. This song that includes an orchestra, drums, horn, acoustic guitar, and melodies building in the background, it could not be the most perfect finale to the album- and to the year 2020.

Today is December 13, 2020- exactly one year after Fine Line has been released. Since then, Harry Styles has made headlines from petty to political. He has shown up for Black Lives Matter, cared for our sleeping habits by releasing an audio bedtime story, made us feel confident in wearing whatever we want as he appeared as the first solo male on American Vogue- all while accomplishing some of his greatest achievements with this album: releasing five music videos, being nominated for three Grammys, and climbing the music charts and catching the hearts of critics. 

But Harry accomplished something even greater- he made an album that made us feel good when it was nearly impossible to. To put it frankly- Fine Line was my comfort album, and I know that it was a lot of other people’s too. And as we step into the new year, with the help of this album, it does in fact feel like... we’ll be alright.

[themusicview]

We woke up one morning and fell a little further down - a Godspeed You! Black Emperor retrospective - Pt. 1: Introductions and F#A#∞

*”In his book Poetics, Aristotle identifed five defining characteristics of Greek tragedy: imitating an action; arousing pity and fear; displaying the human image as such; ending in wonder; and being inherently beautiful - all characteristics that fit Godspeed You! Black Emperor's music. And like all good tragedies, GY!BE lament how both beautiful and pitiable the human condition is, played out in the spectacle of the modern world. Combining post-rock's tension-and-release with a classical ear for grandeur and structure, GY!BE offers catharsis in a world that can't get no satisfaction.” Eher1 - RateYourMusic*

If there’s one thing that you can say about the Canadian post rock group Godspeed You! Black Emperor, it’s that they are fascinated by death. Throughout their 26 year history as a group, death has been the one constant in their work, from the death of the world to the death of governments to the death of civility itself. Which, considering the year we’ve just had and the reality we continue to inhabit, is an incredibly relevant thing to be about.

One of the founding bands of the second wave of post rock, they seemingly had more in common with their first wave contemporaries, bands like Swans, Slint, and Bark Psychosis. The members of the band constantly rotated in and out for most of their history, making them more like a musical collective than a formal band. Besides leader and guitarist Efrim Menuck, every member has had stints away from the band over the course of its history. As a result of this rotating cast of characters, the band’s sound can vary wildly from release to release.

The GY!BE story is, ultimately, about the development of a style. From the high concept beginnings to the most recent of meditative conclusions, the GY!BE style is undeniably well known and respected by all who hear it.

For those who want a primer on this legendary band, I hope I can provide a bit of clarity to one of the most fascinatingly opaque bands of the past twenty years.

Buckle up, this is a long one.

Author’s Note: Godspeed You! Black Emperor has a long history of making changes between formats of their albums. I will be treating these as separate projects and will delineate between the two in my reviews.

#F#A#∞ (vinyl)

For all intents and purposes, F#A#∞ is Godspeed’s debut record. However, much like the other aspects of the band, this is a functional half truth. There is one other album, the self released _All Lights Fucked On The Hairy Amp Drooling_, but it was an extremely limited release of 33 copies, none of which have surfaced in the intervening years. It is known that Constellation records has a copy, but as one fan found out, their official stance on the matter is, “You’ll never hear that tape.”

The band founded a studio, the mighty Hotel2Tango, and got to work. The ultimate result of the sessions was two tracks, over twenty minutes each, which would be constellation’s third release as a label.

This album is the soundtrack for the apocalypse. What kind? I don’t know but it makes The Road look like a Care Bears movie. f#a# isn’t the typical apocalypse where there is hope for humanity or memories of what came before like Fallout; this is the oppressive crushing sadness of being completely drained of hope.

Samples of street preachers lead into the stings of the damned, ghost trains wail in the distance, women in robes ask you where are you going, echoing into nothingness. And behind it all, the drones, they are constant. Mike Moya and Efrim Menuck are both incredibly well versed in the use of screwdriver guitar, and it shows on this album. The guitar lines sound as though they are falling apart under their own weight. It is an album full of ghosts, some benevolent some baneful, and you have to get through them if you want to survive.

The first track, “…nervous, sad, poor…” according to the etching into the record’s surface, begins with a drone and a reading from an unfinished screenplay that Efrim Menuck wrote. It is the perfect tone setter for the world this album creates. A train whistle dumps us into the second half of this track. A slow suspended drone is heard, complimented with the falling sliding sounds of screwdriver guitar, which eventually develops into a western melody. This transitions abruptly into another drone, this one sounding as though it is constructed out of wet fiberboard, drowning in reverb. A glockenspiel and happy plucked bass caps off the most obviously post rock section of the track. A brief, almost drunkenly played, folk rock interlude takes us to the end of side one.

Bagpipes and a street preacher introduce us into the second track, “…bleak, uncertain, beautiful…”. The most notable piece of this track, identified by the band as “The Sad Mafioso,” was featured in the film 28 days later. It is easy to see why. This track builds slowly to a climax, a dreary melody plucked on guitar and played on strings. It is the kind of thing that can truly only be felt, as all of the best post rock is. The second section is another build which leads to the repeated sample of “Where are you going?” A sample from Godspell, a cry for openness. The final section is a drone that almost seems to crumble against your ears. The album ends, interestingly enough, in a locked groove. Repeating one section of drone over and over into infinity. A moment, frozen in time. I can’t help but find something poetic in this locked groove ending. You put this world into motion, and you ultimately decide when to destroy it.

In this album, GY!BE put forward their ultimate thesis statement for the human race. We are ultimately going to destroy ourselves, but there’s something beautiful in the destruction.

#F#A#∞(CD)

Interestingly enough, in their early years Godspeed released on two different labels, with Constellation handling the vinyl releases and Kranky handling the CD releases. This was to allow them to make headway in the United States in their early years. Due to this, sometimes there are differences between the albums that cause a significant deviation in how the album is perceived and structured.

In comparison to the Vinyl version, the CD version is longer by an order of magnitude, almost doubling the former’s run time. There are three new movements here. A coda on the second track called Black Helicopters, a piercing little bit of noise that seems to spit acid into your ears and fill it with flies and static, Divorce & Fever, an introduction to the third track on the album, with a sample of an interview, and a beautiful little string drone, and Dead Metheny, another large building track that foreshadows what the band would do on Slow Riot. Personally, I prefer the tightness of the vinyl version to the comparative heft of the CD, but both albums are definitely worth a listen. Both releases include different tracks and orderings, but both ultimately achieve the same atmosphere

[sinceileftyoublog]

Delvon Lamarr Organ Trio Interview: Fo Sho

Photo by Francis A Willey

BY JORDAN MAINZER

No album from 2021 so far has me anticipating the return of live music more than Delvon Lamarr Organ Trio’s (DLO3, for the insiders) I Told You So (Colemine Records). The band’s second full-length expands upon their first LP Close But No Cigar in all the best ways: propulsive grooves, soulful moods, and an active imagination. Opener “Hole In One” introduces all the elements--funky, prickly guitar lines, confident drumming, and soulful organ--before first single and second track “Call Your Mom” and third track “Girly Face” reveal a gentler kind of sway without losing any of the sharpness. After “From The Streets” slows things down even more with a lurching rhythm and trailing reverb, the album turns it up a notch again with “Fo Sho” and “Aces”, upbeat struts with guitar and drum solos. In between that and the Stax-inspired closer “I Don’t Know” are perhaps the album’s two best tracks: a remarkably faithful, emotive cover of George Michael’s “Careless Whisper” and “Right Place, Right Time”, a solo-laden jam that begins with spontaneous studio chatter embracing the chaos of live recording. Moreover, the album contains all the elements of and is almost structured like a terrific live set, with ample virtuosic dynamism and ideal pacing.

The band on I Told You So is founding members Lamarr, on organ, and Jimmy James, on guitar, with drummer Grant Schroff (The Polyrhythmics) filling in for what was at the time a permanent drummer to be named later. (Schroff went on a European tour with DLO3 right before the recording of this album, so they decided to go with him.) Since then, drummer Dan Weiss has entered the fold; he joined as a permanent drummer last year and even toured a little bit in Canada and Montana before COVID-19 abruptly ended the tour. But while the drummers have rotated, it’s James’ guitar and especially Lamarr’s organ that have remained the foundation of DLO3, one that gives me confidence they could switch drummers every time and still one-up themselves.

I spoke with Lamarr earlier this year from his home in Spokane, WA about the various releases under the DLO3 belt (two albums and singles/live releases) as well as working virtually with a new drummer, Colemine Records, and Chick Corea (who passed away right before our conversation). Read our conversation below, edited for length and clarity.

Since I Left You: What about I Told You So is unique as compared to anything else you’ve ever released under this trio?

Delvon Lamarr: We have more musical influences in I Told You So. The reason why Close But No Cigar felt kind of reserved--we weren’t getting too deep into it--was because it was unplanned. We didn’t even have music to record at the time. But this one features more diverse musical influences of ours. “From The Streets” has that hip hop, Ohio Players feel. “Careless Whisper”--you never hear an an organ trio play that. It digs deeper into our musical knowledge.

SILY: What was the process for composing and arranging these tracks? How much improvisation was there?

DL: It’s like 90% improvisational. Pre-pandemic, we toured a lot, so we hardly ever had a chance to get in a room and write music. Plus, we all live pretty far away from each other. We basically write music during soundchecks, and when we’re on the road, we come up with these ideas and put them together. Usually, we write these melodies, and things like that, but outside of the melody, the solo areas are pretty much gloves off. Whatever happens happens. One of the things we’re known for is intertwining music with other music, different genres of music within the one song. It keeps the music fresh and keeps people engaged. It’s a free for all for most of it. [laughs]

SILY: There’s a good balance on here of songs where everyone has equal weight versus songs really led by one person or instrument. Was it important for you to achieve that balance across the whole album, or did it just end up naturally like that?

DL: It’s just how it ended up. When we write music, we pretty much write grooves. Take “Call Your Mom”: That whole song was built around Jimmy’s guitar riff, so that is the melody. When we wrote that, we actually wrote it on the road during soundcheck. I think it just naturally happens. Whatever instrument we think sounds good, we’ll play that melody.

SILY: Has Dan been learning the tracks?

DL: Oh yeah. We’ve been writing music together. Right now, we multi-track our ideas or sing it into a phone and try to build it that way. A lot of these new tunes we haven’t actually played, because we can’t get in the same room, so we just go for it, man.

SILY: What about “Call Your Mom” and “Careless Whisper” made you want to release them as singles?

DL: That was a decision between my wife [and manager Amy Novo] and Colemine Records. I probably would’ve chosen “Call Your Mom”, too. It has a certain feel and groove to it, man. [laughs] “Careless Whisper” is funny, too, because I wasn’t even gonna record that tune. My wife really likes when we play it--she requests it at the end of shows. She convinced us to record that. I was like, “Nobody wants to hear ‘Careless Whisper’ by an organ trio.” She said, “Dude, just do it, it’s gonna be really good.” We did it, and I was wrong. The reception from that tune has been pretty amazing, actually. I thank her. She’s the reason we recorded it.

SILY: You play a lot of covers live--on the KEXP release, you did “Move On Up”, and last year, you released a cover of “Inner City Blues”. What’s your general approach to covers: Be faithful, or put your own spin on it?

DL: The spin of playing a cover tune just happens naturally. Take “Careless Whisper”: We try to play it like the recording, like the original. I work on phrasing the melodies like George Michael sings it. The way we end up doing that automatically puts a certain feel to it that naturally happens. I feel that way about all of them, even when we do “Move On Up”. I play the melody like Curtis Mayfield sang it. I try to get all of his nuances.

SILY: “Fo Sho” was released on the same single as “Inner City Blues”. Why didn’t you include “Inner City Blues” on the record? Is two covers too many?

DL: Not at all. Close But No Cigar had 4 covers on it.

SILY: That’s true.

DL: We just had a lot of original music we wanted to get out. I Told You So is part of a session that had 27-28 songs recorded. We have another album or two, or an album and a couple 45s worth of music just in that recording alone. We’ve done more recording since then, so we have more music in the can right now. We just wanted to get original tunes out. We did record some more covers that will be out later on, either as 45s or something else.

SILY: The record’s really crisp, but on “From The Streets”, the trailing reverb of the guitar is a hazy contrast to the rest of the album. Can you talk about that track?

DL: The history of that track--basically, I grew up in the streets. I was a rough child. [laughs] I had that music in my head that reminded me of my childhood of running the streets. When we recorded that, you never really hear an organist in an organ trio play a bass line. I don’t play chords in that tune at all. A lot of that magic is Jimmy James. He doesn’t use guitar effects. I actually recently got him to use a wah in a show, and it took him five years to do that. He’s straight guitar and amp. He’s always been that guitar player. That tone, that sound, that reverb is just him and his amp.

SILY: Was that actual studio chatter at the beginning of “Right Place Right Time”?

DL: [laughs] I was wondering when somebody was gonna ask me about that. The song we recorded before, we played the whole thing start to finish, absolutely perfect, without a single flaw. Grant, maybe the last four or five seconds, completely bites it. We were playing, and he forgot to do a break right at the end and kept playing, so it was an unusable take, so he screamed, “Fuuuuuuuuck! Fuuuuuuck!” That’s what we were referencing at the front of it. Jimmy James was like, “Remember that time you were like, ‘Fuuuuuuuuck,’ and then I started copying Jimmy.” It was pretty funny. We listened back to it, and my wife was like, “We gotta leave that in there.”

SILY: Is there an extra guitar on that track?

DL: There is. The guitar player from the Polyrhythmics, Ben Bloom. It’s funny how that worked, because he came to see Jason [Gray], our studio engineer, and I asked him whether he had his guitar with him, and he did, so I said, “Grab it, let’s record something!” He said, “I got about 20 minutes, I gotta be somewhere.” I just started messing around with this bass line, and everything started falling into place. We did two takes of that song. Over about 15 minutes, we wrote that entire song and recorded it. At first, it was just one quick bass line, like a short bass line that I had the idea for, and we started building on it. Ben came in, put his magic on it, and it was a wrap, man. I love that solo, too. It’s dope.

SILY: What’s the story behind the record title?

DL: When our original drummer left the band, people were worried about the sound of Delvon Lamarr Organ Trio, because he had such a distinct style of playing. People assumed we’d sound different. I kept telling people, “As long as the music is good, people are gonna like it. It might feel different, but it’s gonna feel good and sound good.” That’s why I called the album I Told You So. Because it sounds good!

SILY: What about the album art?

DL: People are always wondering what I’m doing on the front of that album. I was shadowboxing--I used to be a boxer in my youth. We were taking photos in Cincinnati, and it was one of the photos everybody liked.

SILY: What does it mean to you to be on a label like Colemine Records, diverse in terms of genres but a wholly old school vibe.

DL: Our relationship is really good. They’re cool cats, man. It’s truly an honor to be a part of what they do. Since we’ve been with that label, I’ve met a lot of the artists on that label. It’s a gift to be a part of what they do. One of the big reasons I really like them is that it’s managed by two brothers that run it who are just normal dudes. They ain’t corporate. I talk to them like we talk to each other. It’s like family. I really respect these guys and what they do. It’s amazing being a part of what they do.

SILY: For sure.

DL: That’s “Fo Sho”. Just kidding.

SILY: Are you planning on doing any live streams or socially distant shows down the line, or are you waiting for things to calm down more?

DL: We’ve done a few live streams so far. We have more coming up. We’re working on some stuff. A lot of the tours we had scheduled last year got rescheduled to this year, so we’re seeing what happens, but right now, we’re still trying to book shows and see if it can be done safely. If it ain’t gonna be safe, we’re not gonna do it. We’re just hanging in there still, trying to keep things on the books. 

SILY: What else is next for the Trio?

DL: We’re working on a new project that we’re gonna call DLO3 and Friends. Basically, Delvon Lamarr Organ Trio is gonna be the basis for the band but we’re gonna incorporate musicians we’ve met on the road all over the world that we’ve liked and start collaborating with people. We just went in the studio a couple weeks ago and laid the foundation. It’s comin!

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

DL: I’ve been back in my old school traditional swinging jazz, Kenny Dorham, Johnny Griffin, Coltrane, Miles, all those guys. I was originally a straight up swinging bebop player and haven’t been able to do that in a while.

SILY: Speaking of Miles, did you hear that Chick Corea passed away?

DL: I did. That was a pretty sad moment. We have the same booking agent. I never got to meet him. I was hoping to. 

SILY: Do you have a favorite piece or recording of his?

DL: Yes. The Blue Mitchell album The Thing To Do. I remember listening to it; Chick was burning on it. One of the other things I realized on that album was how high pitched Al Foster’s toms are. But yeah: huge loss for the scene.

SILY: Anything else I didn’t ask about you want to say?

DL: Support your local record stores. There may or may not still be our limited pink vinyl at your local store, since those were only sold at record stores. Support your local record stores and local music.

I Told You So by Delvon Lamarr Organ Trio

[bestreverbpedal]

5 Best Reverb Pedals

When looking for the best reverb pedal to add to your setup, you need to keep a few things in mind. Price, Quality and Budget can all play a big factor in your decision. Check out below for a table that we’ve constructed which lists some of the best reviewed and proven reverb pedals available on the market.

Best Reverb Guitar Pedals: http://reverbguitaramps.com/best-reverb-pedal-for-the-money/

1) TC Electronic Hall Of Fame

The TC Electronics TonePrint Hall of Fame packs all the reverb options you could possibly want into one small, sturdy pedal. From slightly sweetened tone to huge, stadium-like echoes, you can find the setting you want in its myriad of in-pedal options or the TonePrints available online. With the plethora of options available at its price, this is one of the best reverb pedals on the market.

2) Boss FRV-1 ’63 Fender Reverb

The Boss FRV–1 ’63 Fender Reverb pedal (that’s a mouthful, so we’ll call it the FRV-1 from here on) is a solidly constructed digital model of the spring reverb found in old Fender amps. To get one of the actual spring reverb tanks from those amps, you’d have to pay a lot of money. The FRV-1 lets you recreate that sound at a fraction of the cost

3) EHX Cathedral Stereo Reverb

The Electro-Harmonix Cathedral Stereo Reverb pedal gives you all the options you could want to find that perfect reverberated sound. With eight different reverb settings, customizations for each setting, and even a preset-loading function, you can bet that you’ll be able to dial in the reverb that fits your guitar playing to a tee.

4) Wampler Faux Spring Reverb Pedal

The Wampler Faux Spring Reverb Pedal is a straightforward effects pedal that does exactly what it says in the name: it emulates a spring reverb effect. Many older amps (and some newer ones) had spring reverb tanks built into them to help soften and sweeten the incoming signal from the guitar. These days, though, you’d be hard-pressed to find an amp with a true spring reverb tank; most of the amps with “reverb” settings on them are emulations, not true reverb. If your amp doesn’t have a reverb setting on it, then the Wampler Faux Spring Reverb is worth a look.

5) Digitech Reverb Guitar Effects pedal

The Digitech RV-7 Hardwire Stereo Reverb pedal is a pretty decent digital reverb pedal. For its compact size, it has a good selection of effects that work well in conjunction with other effects so as not to muddy your tone.

What is a Reverb Pedal?

Reverb (short for “reverberation”) is, at its essence, a multiple-variation short-term delay effect. It comes from the natural echoes experienced from sound reflecting off surfaces; you hear the original signal first, then all the little echoes of that signal that bounced off various surfaces in a given area. Think of how your voice sounds outside, then imagine what it sounds like inside an auditorium or a castle. That change in your ears’ perception of your voice is the cause of a natural reverberation effect.

Reverb is more than just a simple, straightforward echo. The surface a sound reflects off has an effect on the bounced sound wave, too. Many reverb effects in studios use different surfaces, rooms, and boxes to achieve different types of reverb. Reverb pedals like “hall” and “echo” are designed to emulate large rooms. That’s why you’ll see pedals with names like “Cathedral” and “Holy Grail” – large church buildings and ancient structures make for very distinct reverb effects. “Plate” and “spring” pedals, however, are modeled after a type of effect which utilizes metal pieces inside a box to create a distinct metallic reverberation. You can even find spring reverb tanks built into many tube amps.

Digital and Analog

Most reverb pedals are digital models of the real thing; it’s hard to find enough space on a pedalboard to fit an entire reverb tank, and they aren’t exactly the most portable equipment to handle. For true analog reverb, a studio or an amp with a built-in tank is the easiest route. That being said, it isn’t impossible to find a good analog reverb pedal. The technology today also makes most digital reverb pedals nearly identical to their analog counterparts. Digital reverbs also have the added bonus of combining multiple effects in a smaller box, allowing guitarists (and vocalists) to achieve some beautiful sweetness without locking themselves in a tiled room.

[jasonbeblog]

Developing Your Guitar Tone: Tips and Tricks for Achieving the Perfect Sound

Every guitarist dreams of finding their unique tone—a sound that resonates with their musical style and personality. Developing your guitar tone is an exciting and ongoing journey that involves experimenting, refining, and understanding the components that contribute to your sound. In this blog, we will explore various tips and tricks to help you achieve the perfect guitar tone that reflects your musical vision.

Start with a Solid Foundation: Before diving into the world of effects and gear, ensure that your guitar is properly set up and in good condition. Consider getting a professional setup to optimize the playability and intonation. Experiment with different types of strings to find the ones that suit your style and sound preferences. A well-maintained guitar forms the foundation of a great tone.

Experiment with Pickups and Amps: Pickups and amplifiers are key factors in shaping your guitar tone. Different pickup configurations, such as single-coils, humbuckers, or P90s, offer distinct characteristics. Experiment with different pickup combinations and models to find the ones that enhance your desired sound. Similarly, explore various amplifier types and brands to discover the one that complements your playing style.

Understand the EQ Controls: Mastering the EQ controls on your guitar, amplifier, or effects pedals can significantly impact your tone. Take the time to understand the basics of equalization, including bass, mid, and treble frequencies. Experiment with adjusting these controls to shape your sound, emphasizing or reducing specific frequencies to achieve the desired tonal balance.

Explore Effects Pedals: Effects pedals open up a world of sonic possibilities. Start with essential pedals like overdrive, distortion, and delay to add texture and character to your sound. Experiment with different pedal combinations to create unique tones. Remember to use effects tastefully, ensuring they enhance your playing rather than overshadow it. Quality over quantity is key when building your pedalboard.

Consider Your Playing Technique: Your playing technique greatly influences your tone. Experiment with varying pick attack, palm muting, and fingerpicking techniques to achieve different sounds. Adjusting your picking location on the strings, playing dynamics, and using different strumming patterns can also add depth and expression to your tone.

Experiment with Guitar Settings: Don't overlook the importance of exploring your guitar's settings. Adjust the volume and tone controls on your guitar to find the sweet spot that enhances your tone. Rolling off the guitar's volume knob can create cleaner tones, while increasing it can add more bite and overdrive. Use the tone knob to adjust the brightness or warmth of your sound.

Explore Different Playing Styles and Genres: Expand your tonal repertoire by exploring various playing styles and genres. Experiment with different genres, such as blues, rock, jazz, or funk, and observe how different guitarists achieve their signature sounds. Analyze their techniques, gear choices, and settings to gain inspiration and adapt them to your own playing style.

Trust Your Ears and Personal Preferences: While it's valuable to learn from others, ultimately, developing your guitar tone is a subjective process. Trust your ears and follow your instincts. Experimentation is key, so don't be afraid to try new techniques, gear, or settings. Your personal preferences and musical identity should guide you in creating a tone that resonates with your artistic vision.

[edgelarks]

About Recording 

‘We’re rolling…”

Mark’s voice comes from the corner. Phil catches my gaze; I say, “1, 2”, and silently mouth the “3”, so the word doesn’t make it onto the recording. And we’re away.

We’re enveloped in the warmth of Mark Tucker's studio, The Green Room, deep in the Blackdown Hills on the Devon / Somerset border. Phil and I sit facing one another, from either side of a thrumming wood burner, each surrounded by microphones. Phil has his family of guitars ranged around him; I alternate for these first songs between banjo and tenor guitar. The violins and harmonicas are waiting in the wings. Everything has been restrung, we have spent an intense week preparing, and it feels a relief to finally be here, getting on with it.

This morning we drove the 40-ish minutes from our home in Exmouth, the road sweeping up across the winter common, estuary and sea falling away to the sides; then racing along the a30 and delving deep into lanes to the studio. I watched a buzzard tumble upward towards us as we negotiated the treacherous driveway, a steep ramble down from the nearest road. Mark’s place feels satisfyingly far from the world.  An ever evolving project that has grown from a single small space, to a large and beautiful live room - and forthcoming building work will add further recording space, control rooms, and accommodation. Yet, despite these variations in the layout, the atmosphere remains the same. A space away from distractions, where you can find the thread of your song, and follow the singing of it to where it needs to go.  

The room we are in is large, and full of music. Mark’s wife Michelle has an unerring eye for design, and so both the house and studio are immediately inspiring places. Embraced by deep red walls, the studio matches rich velvets to Indian throws, patterned rugs rest under vintage amps. Books on tube amps and Bob Dylan vie for space with the shelves of records that have been made here. Fairy lights gently illuminate the instruments hung across the back wall. Animals come and go. Ned, the dog, is far too naughty for admittance; and Cookie the black and white cat is sometimes so enthusiastic about pursuing a career in music production (aka joining in) that he has to be ejected; but Mushka is a constant and mysterious presence, napping somewhere warm, dreaming of his adventures as Macavity the Mystery Cat.  

There are as many approaches to recording as there are songs to record. Between our own albums, various sessions and other projects, we have tried many different things, and worked in many wonderful studios. Layering, multitracking, infinitely dissecting. The old ways, of recording everything mostly live to wonderful warm tape, have generally ceded to a million variations of digital. Usually this means multi tracking - each part recorded separately, achieving maximum control and editing possibilities. Individual notes can be tuned, moulded, cut out entirely. Takes can be spliced together to get the best version. Rhythmic cohesion is ensured by playing along to a click track.  

Of course, this level of detail makes perfection not only achievable, but expected. However, we have found that the best producers know when to draw a line during editing. Perfection is not a human characteristic, and while you may nudge and autotune and shape a piece infinitely, you may in the process remove that indefinable something, the music itself. The warmth and life of band recordings from the 1960s and 70s are testament to this. Sadly, with few major label funded album sessions, it is an impossibility for most bands to take time in a studio to experiment, write, and record live (let alone to tape, which is now very expensive). This, plus the modern ease of home recording, has evolved the common approach to album making. For me and Phil, on previous projects, we have meticulously planned and drafted at home. We have imagined whole landscapes of sound, making the most of our (ever growing!) instrument collection, layering dobros and harmonicas, fiddles and banjos.  

But for Feather, we began to talk of a different approach. Something that would capture the energy of our live show; a directness that people instinctively respond to. Arrangements that would reflect what we do live - plenty of multitasking, but still achievable between two people. Harking back to those classic records from the 60s and 70s.  

We are lucky to know Mark. He has accumulated a deep, deep well of knowledge through recording and producing many varied musicians and working widely across the industry. He hears sound in a truly remarkable way, considering elements of tone and range that to most people belong in the realm of bats. He doesn’t just have an extensive collection of gear - common to many audiophiles - he really knows how to use it! The exact spot to place a mic, the exact right mic to use, how to process the sound in exactly the right way. He is a precision craftsman of sound, but also brings the artists ear, knowing the aesthetic importance of his choices, as well as the technical value.  

And he was excited about our project. The atmosphere his studio would generate around the music was just right. He had ideas for reverbs, for how to approach recording the core of each track ‘live’. We would decide what lay at the heart of each piece - what was playing the chords, the backbone - and record those instruments simultaneously. Keeping lines of sight clear, just as we would at a show, to signal to each other, and retain the improvised element. Some vocals would be live, some would be overdubbed, to get the sound just so. Minimal editing - and no click tracks. 

We were nervous as our studio time approached. Never had we felt so unprepared to go and record. Yes, the songs were there, they had grown strong and we were happy with them - but. It was a big risk. We had chosen to risk in order to experiment, to go in while the songs still felt wild under our fingers, rather than over rehearsed and tired. One of the most important things I have learnt about recording is that you should not embark on an impossible quest for the perfect take - it will very swiftly descend into red light fever and endless frustration. Instead, you must accept that, as with a live show, this is simply the record of a moment, of one (good, admittedly!) instance of your playing. There will be other records, other moments. Letting go in this way allows freedom and humanity back into your playing.  

And the first week of recording has been magic. It feels like the perfect place, the perfect time, to hunker down and make. We sit opposite each other, finding the right chords, taking our time. We eat vegetable soup, pasties; occasionally someone puts another log on the burner. Cookie takes part as much as he is allowed to. Mainly we listen, and listen again, feel our way through the maze of the song.  

Crows wheel aimlessly in a dirty white sky. The trees look cold without their leaves. It is Midwinter, and we are here, mining for warmth, holding out for hope. 

Support Edgelarks' crowdfunder to make Feather at www.indiegogo.com/projects/feather-a-new-album-by-edgelarks

Mark Tucker's studio is The Green Room - https://www.facebook.com/themarktucker/