July 1, 2020 source: Album Reviews
Madame Z has released her long awaited album, Down the Rabbit Hole
Here are some of the recent reviews:
Madame Z – “Down The Rabbit Hole” is a stunning record! – Tuneloud
Madame Z Takes Us ‘Down The Rabbit Hole’ – Indie Band Guru
Perhaps one of 2020’s most eclectic, versatile and uninhibited creative artists…” -Stereo Stickman
As the title implies, Down The Rabbit Hole is no ordinary adventure. And that’s a damn good thing!” -Sleeping Bag Studios
Resiliently spunky. Charmingly unpredictable. Sultry yet boundaried.” -The Ark of Music
She has a very kaleidoscopic approach, charming the audience with her unique combination of different genres, paving the way to a unique and personal sound.” -Bandcamp Diaries
This is a narrative rich album filled with soul and a kind of controlled rage that sears the surface of the story being told.” -Amanda Nargi, author
A Kinks cover this song was released in 1965. @kiwichrys on the high parts.
If that sounds like you, read on: we’re going to give you some hacks for recording in your project studio. With a focus on those who make music out of their domiciles, we’ll walk you through the steps you should take for securing clear, natural recordings, from room treatment to microphone technique.
1. Treat your room for recording
Room treatment is not in any way sexy. Nobody wants to drop five hundred bucks on something that can’t make a sound. Sure, I could go on and on about how fantastic a modicum of room treatment will make your inexpensive gear sound. I also have great recipes for cauliflower rice, and you’d probably be just as interested in that.
Still, room treatment—especially in domicile-based studios—is essential, even if we discount room treatment for mixing (which we shouldn’t). But let’s say you’ll never take off your headphones when producing, no matter the pro advice. You should still outfit a segment of your workspace to achieve proper recordings.
For vocals, you can get the cage that wraps around a mic stand, but I’d wager you’re better off actually treating dedicated portions of the room for recording. If you can only devote a segment of your room to audio capture, that may work out in your favor:
Sure, you may want to convert a closet into an iso-booth, but you very well stand a better chance with a larger, multi-use space, as is-booths are hard to treat correctly. Handled wrong, you’ll get a muddy, lifeless sound for a variety of acoustic reasons. It’s easier to achieve tonal balance in a part of your multipurpose room, believe it or not.
How to go about treating your room for vocal recordings varies on its shape, the materials of construction, and your budget. There is no one-stop solution I can provide, except to suggest that you do the proper research. Many companies, like GIK, offer free advice on how to go about treating a room on any budget. Other sources, such as this article, can be helpful.
And really, you ought to treat your room for mixing purposes as well. It goes a long way to securing mix translation. You can read up on where to do so here.
Treatment geared to both scenarios—recording and mixing—is essential, because there’s no such thing as a demo anymore. With shrinking budgets and satellite schedules, any serious producer is expected to craft material that could go out for mass consumption. The better treated your recording environment is, the better your chances of capturing a usable performance.
2. Invest in a solid mic chain
The same assumption here: your audio needs to sound as radio-ready as possible. You can work all your magic at the mixing stage, but if you’re a producer looking to create great sounds efficiently, it helps to have a solid recording chain to bring life to your audio on the way in. I’ve often heard breakdowns like, “50% of a good sound is the singer, 40% is the room, and 10% is the gear involved.” If you think it’s true, then it behooves you to go for that extra 10%!
It may take a while to save up for good recording gear, but even one channel is worth the expense. And, luckily for you, many interfaces in the sub-$1000 range sound great. Provided you’re working at sample rates at or under 48 kHz, Spire can act as one such interface since its preamps were made by Grace Design—a manufacturer of high quality, transparent preamps. If you don’t have the scratch to shell out for vintage gear or clones thereof, go for clean and transparent: you can vibe the sound later on with other tools. Mic presets are very important — it’s why I wrote about them first. Conversion too is something worth researching. But you should also invest in a couple of great workhorse microphones. I’d say two would do the trick. If vocals and the occasional acoustic instrument come through your space, a dynamic mic and a great large diaphragm condenser will serve you well.
Note I said “great,” not “expensive.” Modeling microphones are getting better and better, as well as cheaper and cheaper. Large diaphragm condensers like the Aston Origin or the WA47 sound great in the sub-1000 category. For dynamic mics, a Shure SM7B, an EV RE20, or even a trusty Shure SM57 can get the job done.
If you pair one workhorse condenser and one dynamic mic, you’ll probably have enough to handle most singer/guitar situations that come into your home recording studio. Occasionally you’ll come across a singer who’d probably benefit from a ribbon, but until you’re able to spend discretionary income on one, you can feasibly handle whatever comes your way in this department.
3. Banish all noisy equipment to faraway place
Noise is a troublesome issue for recording. It can come from anywhere in the domicile-based production studio. Do you live off a traffic circle? I did for six years. It seemed motorcycle drivers and truckers had a penchant for knowing when I wanted to record. Do you have roommates? I did, and they opened doors at all the wrong times.
Yes, there are things you can’t control—and for those things, iZotope’s RX7 is a godsend. Even though RX is more transparent with each iteration, nothing beats a clean, noise-free recording. you can minimize noise on your end as much as possible.
Air conditioners, refrigerators, hard drives—all of these are within of your control. Turn the air conditioner off whenever you record. If you can hear the fridge on your recordings, unplug it for the session. Set your hard fives far away from the recording location, and outside of the microphone’s pickup pattern. If they’re still whirring loud enough to come through your recording, box them up. I had a particularly noise external hard drive and was lazy about replacing it, so I lined a large bucket with a packing blanket and just placed it over the top when I recorded. It worked well enough. Do what you can to banish extraneous sound in the recording process, and you won’t have to worry about noise-reduction compromises later on.
4. Get at least two pairs of closed-back headphones
This tip applies to those who have only one space for recording and mixing. You may love your open-backed Grado, Sennheiser, or Audeze headphones for producing. Open-backed headphones do give you a feeling that closed-back headphones can’t emulate. But as soon as you’re recording, it’s time to put those leaky headphones away. Again, you want your audio to sound as clean as possible, and that means as little headphone bleed as you can get.
To that end, it is well worth your while to have multiple pairs of closed-back headphones, one for you, others for your artists. They don’t have to sound as amazing as your mixing headphones, just good enough to give the singer a pleasing picture of the voice.
At least one pair should be flat enough to trust while recording, and detailed enough to reveal issues should they come up. That pair should go on your ears. Familiarize yourself with that pair by listening to all your favorite records and logging any differences you notice coming through the headphones.
5. Correlate the meters to your ears
When recording, it’s good to have meters on hand to give you visual indications, showing you signal-strength, or whether the signal has clipped. Your preamp, interface, or converter usually provides some sort of metering, and of course, you can always use a plug-in within your DAW, something like
But more importantly, you should learn how to correlate any meter with what your ear hears as you record. Mics and preamps tend to have sweet-spots, areas where the sound is harmonically rich and satisfying. Correlate these aural sweetspots with the visual indicators of your metering.
When you’re setting up the mic on the vocalist or the instrumentalist, take note of the meter reading when you really hear the juice, and as you record, watch the meters to make sure you’re still in that zone. If you find the artist is peaking near the sweet-spot, you may have to compromise and turn down, or use a compressor in your chain. Some tracking compressors, such as several pieces in the FMR series, are both incredibly transparent and quite cheap.
6. Learn some basics of vocal mic technique
Typical microphone placing for a singer involves leaving about 6 to 12” of space between the mouth and the capsule, which is usually cardioid in polar pattern (unless you have a great room or are trying to capture a specific effect, go for cardioid in most vocal-recording scenarios).
You may want to get the mic closer or farther away depending on a few variables. If you’d like to use the proximity effect to secure more low-midrange in the signal, move the singer closer to the mic. If the room sounds great, and you want its quality to come through in the recording, try moving the singer farther away.
But hold on—what is the proximity effect? This occurs in many microphones, and simply put, it’s this: as you move the mic closer to the capsule, you’ll notice more low-midrange in the signal. This can be used to your advantage, or it can be detrimental. Experiment until you achieve the appropriate fullness.
Be aware of the microphone’s angle. On a cardioid mic, if you angle the capsule so that the artist is singing somewhat diagonally into it, you can minimize sibilance, which will serve you well in the mix. Also, I’ve found that playing with the height of the mic can greatly impact the singer’s performance. Too low, and the singer tucks in the neck, squashing the sound and the chords. A little higher than dead on the capsule causes the singer to tilt up a bit, which elongates the neck and may engender a clearer tone.
7. Learn some basics of acoustic guitar mic technique
Other than vocals, the most common recordable instrument you’ll come across is probably acoustic guitar. So, learn how to mic one!
Here’s an easy, straight-forward way to mic an acoustic: point the capsule at where the neck meets the body, about a foot away from the instrument (give or take). This will act your focal point in balancing the tone. Angle capsule slightly toward the body, and you’ll get a boomier timbre. Direct the capsule slight toward the neck, and you’ll hear a thinner sound with more string presence. Straight on is also good. Balance the tone for your song.
For more of a fuller sound, without the exaggerated boominess from directly miking the soundhole, try positioning the microphoning above the soundhole, about a foot away, angled down at the instrument. This can get you that darker, richer sound, with less string noise, and more body. As for mic choice, let’s assume you’re working with either a large diaphragm condenser or a dynamic mic. Try either to see what’s best. Something like a dobro might benefit from more of a dynamic mic, while a more rounded instrument like a dreadnought might crave that LDC.
But what about stereo?
For stereo miking, you have your pic of X/Y, spaced pair, and M/S miking configurations, but always keep in mind that you should space each mic the same distance from the guitar to avoid obvious phase issues.
Honestly, when you’re a bedroom producer, you want good results fast. You may not want to bother with stereo at all, unless you’re confident and practiced in getting up mics within your space. Try trusting in the gods of Fake Stereo, using EQ tricks, such as the one laid out in this article, particularly tip four when it goes live). You can mult an acoustic track to two new tracks, pan one to the left, the other to the right. High pass one, low pass the other, keep the unaffected one in the middle, and play with them all till you have a nice stereo spread.
In terms of naturality, this technique may not work for a solo acoustic recording, but for a medium- to heavily-dense arrangement, it can be a way to affect the right stereo acoustic-guitar sound quickly.
Home recording studio hacks: the takeaways
Don’t forget about the other gear that goes into securing a good performance. A Shockmount for a vocal mic? That’s a good idea. A mic stand that’s solid, with a round base that won’t tip over? You bet. A pop-filter? It can help.
Are these essentials? Not really. You can get by without them, but once you have them, you’ll never want to go back.
Also, remember that the artist needs to hear everything in the most flattering light. This may mean setting up a cue mix for them to hear exactly what they want—more of the vocals, less of the bass, etc.—while your mix remains the same.
It’s unrealistic, however, to expect a bedroom-based studio would always have the gear for a cue mix. Maybe you only have an interface with two headphone outs.
There’s nothing wrong with that! In this case, make sacrifices for the artist. Mix it on the spot for their liking, with the EQ they need, the instrument balance they ask for, and all the effects they crave. You’ve already heard how it’s going to sound when you set up the mic. Now you can step aside and trust them to their job, provided you’re sure in your technique, your gear, etc.
Is there more to cover here? Absolutely. The subject of room treatment alone is a volume of books, let alone a 2,000 word article. But use these steps as a guiding post, and you’ll be on your way to hacking out a quality acoustic recording in your room.
Here’s my version of the Beatles song Girl.
Thanks to @kiwichrys vocals and @the_m_project guitars from Bandlab. I did the piano, bass and drum programming…oh and the whistle and cowbell 🙂
This is an original song by Cocobark. I added keys, some bass and drums and produced it.
There were a series of distinct pops in this vocal track. The first screenshot shows them and the second screenshot shows the fix. They are the 5 bars that go up the whole frequency spectrum about a quarter of the way over from the left.
I did this really quickly and it sounds acceptable. If I spent a lot of time I could probably get it perfect.
It was as easy as highlighting sections of the noise bars and cutting them out of the track. Then highlighting what remained and hitting delete. The delete function brings those sounds down without fully erasing them. I hit delete a few times and it mostly fixed the issue.
To put the final nail in Covid-19, I present for your consideration, Do the Conga. This is mostly Steve Schreiber on Bandlab. I added Marimba and produced.
@kiwichry adds her great vocals to my song about losing a loved one.
Sometimes a track will sound great with a few exceptions, where the player hit a note a little too strongly. Here’s a good way I’ve found to make these spikes better without having to record again.
This is not a radical example here – the spike shown is probably mostly under control, but I’m using it just to demonstrate that sometimes your eyes are almost as good as your ears.
Here is a bass note recorded into Cakewalk by Bandlab. You can see a small spike near the beginning of the note, particularly on the bottom side..
Looking at the rest of my track, this only happens in a few instances. In order not to affect most of the track, I cut so that I am only processing this one note.
In Cakewalk, I really like the simplicity and the quality of their free Sonitus plugins. You can right click on the little cut track of the note and then insert an effect only on to this clip. I’m going to put the Sonitus compressor on it.
Here’s how the plugin looks. I’ve already set some of the parameters, which I will detail below. There’s a small square in the right hand top corner where you can get to the plugin you loaded on the clip.
I’m just trying to get rid of the spike above where my cursor is. I set the attack to zero because I want the compressor to act right away. I set the release to 1ms because I only want the compressor to work for a short period of time, so that the rest of the note is not affected.
I played the note to get an idea on how loud the input is.. You can see on the bars on the left what the level is. I slide the threshold control (on the colored volume bars) down just a little to -3.3. I set a pretty hard ratio of 5.0:1 with a hard knee. There is a limiter button also, which I usually keep on.
All of these values are trial and error. Once you get something that will work, you can apply it to the note segment (select the segment, right click and bounce to clip), and the waveform you see will change. I did this here, and this is what the wave segment now looks like.
You can see that the spike is somewhat reduced. If you find that things are flattened out to much, like in the image below, you can always edit->undo in Cakewalk and get back your original waveform.
It’s a little bit of trial and error, but at least you have a visual indication of what you are working with.
This can also be done for a whole track if you need to, but it is always a good idea to try to not affect anything other than what you need to fix.
Here’s a before and after side by side.
Seems like forever that I just went from guitar to direct box to preamp to USB interface to DAW. It always worked fine, but was problematic.
If I used that method and tried to put on the effects inside the DAW, the latency was too much to bear, so I always laid the guitar tracks down with no effects, listening to the output from the preamp. This eliminated all latency, but of course the guitar sounded like a very low volume no character twang. I had to imagine what it would sound like with effects.
I use the RME TotalMix software mixer. It is fantastic, but confusing to get up to speed on it.
Anyway, today I got fed up with the volume issues and decided to make it better. I had given my son a small Orange amp, but he has his mind on other things, so I stole it back.
Well I can’t believe I waited so long to do this. It gave me plenty of power, and enough character to play more easily. I still put effects on after I record, but this has made things so much easier.
Another thing that it made me realize is the difference between pickups and volume and tone controls on my Fender Strat. I was so used to just using the bottom two pickup positions with the tone and volume full open on the guitar. There was little difference otherwise. Now, each switch position and the tone knob changes makes a huge difference.
I’m so glad I finally did this. Details below.
Here’s what I tried…
From the guitar to my direct box
From the direct box to the Orange Crush input.
From the Orange headphones out to the Behringer ADA8200 preamp
From the Behringer to an RME Babyface Pro USB Audio Interface
Into the TotalMix software and to the DAW
@thelonewulfproject and @chry-me-a-river on vocals. I play the instruments. If the video does not show, there’s a local link to it below.
Here’s a new release by the band Without Focus. Written by Dave (@eipi) at Bandlab, with Robert Foy on keys and Mike (@Smokeytoobs) on Bandlab on Electric Guitar. Dave plays acoustic and does the vocals. I did bass and drums and produced the song.
My cover of a song by Joe Jackson. Released unsuccessfully in October 1978, re-released in 1979 and was a hit. @thelonewulfproject on vocals.
The Future of Drum Production!?!?
Toontrack Superior Drummer 3 Review + Demo + Tutorial
Thanks for watching our ToonTrack Superior Drummer 3 review. This piece of software is the future of drum production. It is the perfect drummer. In this demo, we show you how to use Superior Drummer.
Way more than a sound library, Superior Drummer 3 gives you streamlined workflow and countless features for amazing drum production right in your computer. The fully loaded feature list of Superior Drummer 3 includes:
• In excess of 230 GB of raw, unprocessed sounds in 44.1 kHz/24 bit
• Recorded with an additional eleven separate room microphones set up in a surround configuration for a complete immersive experience
• Playback in stereo or up to 11-channel surround systems
• Approx. 350 vintage and classic drum machine sounds
• New and improved scalable interface with detachable windows
• Edit Play Style, Tap2Find, Song Creator and Song Track features as well as improved workflow and search functionality
• Built-in MIDI grid editor
• DAW automation for built-in macro controls
• Support for keyboard shortcuts Superior Drummer 3 is, at its core, a dedicated percussion DAW.
Step into your own virtual studio and have the best sounding samples at your fingertips. It is way more than just a drum sampler. Recorded by award winning engineer George Massenburg, the Superior Drummer 3 sound library features more than 230 GB of raw sound with a ton of detail. Use up to 11 room microphones for a truly surround sound experience.
The sheer amount of samples is very appealing. Here is come more spec about the sounds:
• Seven (7) kits
• Tom shell dimensions cover ranges from 6” to 20”
• Optional tool selection available on select kits and instruments (sticks, brushes, rods, felt mallets)
• Optional drum head selection available on select kits and instruments
• Approx. 350 electronic drum sounds, sampled from vintage and classic drum machines
• 25 unique acoustic snares, 35 recorded configurations
• 16 unique acoustic kicks, 27 different recorded configuration
The integration with e drum kits is remarkable and lets you fine tune your e kit sound with optimized velocity response. The design of the software lets you create quick custom beats or to deep dive into timing and velocity with never having to leave the program.
It includes multiple song tracks, a grid editor, and time and tempo editor. Use the included tracker to convert drum audio into MIDI for precise timing.
Superior Drummer 3 also includes 35 different effects and a dedicated DAW style of GUI, making it easy to route, bus, send, saturate, etc. Superior Drummer 3 is an excellent piece of software. Remember, it is more than just a drum sampler. With over 230GB of samples, an intuitive, unique DAW, and e drum integration, it really is the future of drum production.
Learn more about ToonTrack Superior Drummer 3 and buy your own copy here: https://www.toontrack.com/product/sup…
From what I have heard, this is a cover of sorts of a popular Garth Brooks song, the Dance. My friend Stig Anders Mellem from Norway has put this together. I provided bass and drums and mixed and mastered the song. That’s Stig in the picture below!
@emmakhalin sings on this. @margab is on slide guitar. Stig on piano and violin.
I wrote this a while back, but just updated it to my current abilities.
Way way down in the crevices all the little parts of everything are futzing around. Here’s how I think it sounds. The soulful Quark Sisters make an appearance in the last verse. Charmed and Strange.
Doug Cross on vocals and acoustic. Myself on acoustic picking, keyboard, bass, drums and backing vocals.
“Penny Lane” is a song by the Beatles that was released in February 1967 as a double A-side single with “Strawberry Fields Forever“. The lyrics refer to Penny Lane, a street in Liverpool, and make mention of the sights and characters that McCartney recalled from his upbringing in the city.
This is a remix of my cover version.
A song about a TV Show from a few years back that I binge watched. The great @darrengarrett on vocals. He sings along with the Morgan Tabernacle Choir at the end of the song.
Waking up this morning and I’m lacing up my shoes.
Gonna take the boat on a midnight cruise.
Gotta get supplies, set it up like I should.
I got a feeling Angel, there’s gonna be blood.
Rita’s got the baby and she’s packing up the kids.
Gonna take a breather down in south Madrid.
Dad is riding shotgun and he’s going through the code.
Me, I’ve got my needle, and my eyes are on the road.
Rudy’s got a problem, he’s been taking folks apart.
Now he’s got my sister and he’s going to break her heart.
He’s been incognito, he’s been doing it so well.
But now he’s on my table and I’m sending him to Hell.
A new song by Without Focus. That’s @eipi who wrote, sings and plays acoustic guitar, @smokytubes on electric guitars, @rabbitwithmachinegun on keys and myself on bass and drums. I handled production chores on this one as well.
A quick sojourn into the Twilight Zone.
I’ve updated this song. Written by @cocobark who provided vocals and piano. I added drums, bass and synth. @gbailey played the guitars.
@martingagliardi on Bandlab recorded the guitar track. I added bass and piano. “Makin’ Whoopee” is a jazz/blues song from the 1928 musical Whoopee!. This song has been called a “dire warning”, largely to men, about the “trap” of marriage.
This is not clearly explained in the manual, but I found a nice guy willing to help on YouTube.
Check out the video here. In the Replies is more information on the mapping which I will try to repeat here.
You will need the Controller Editor, which came with your Mikro – you should find it installed or in the Native Access program. On my Windows 10 machine it is here: C:\ProgramData\Microsoft\Windows\Start Menu\Programs\Native Instruments\Controller Editor. You will need to open this in Administrator mode. I created a link on my taskbar.
First create new template and name it in the controller editor. Here a snapshot of mine (after I set it all up)
Then, select all the pads (shift click from right top to bottom left to select all). Once you do this , go to ASSIGN tab, then the action tab labeled “Press” and set Type to None.
In Superior Drummer 3, I selected the drum set I wanted and set up all the routing. Don’t forget to make sure you have set the MIDI input in your DAW to the MASCHINE Micro MK3 and also make sure your drums trigger on channel 10 if you chose to do that. Then once you are happy with your drum setup, save it as a project in your Superior Drummer. You can probably make this a default but I haven’t done that yet.
Now this is the lame but necessary part. You need to decide how you want your drums to be laid out in your head or write it down. You will need to go back and forth between SD3 and Controller Editor and change the values for each pad that matches the note values in SD3. In the Controller Editor you do this under ASSIGN>Hit tab, note. Use the format C0, NOT C-0, or you will be sorely disappointed.
In SD3 you find these notes by unfolding the “midi mapping tab on the right side of SD3. If you don’t see it, it is under the show pop down menu. make sure to unfold hamburger menu in midi mapping and view “show keys”
Now, select the individual drum with mouse to identify the value and punch that in to the controller editor.
Remember you can change the articulations of each drum but you will need to save it under: Mini in/EDrum Settings > Save as under user presets.
Make sure your MIKRO is in MIDI mode. It should show up in the little window on your MIKRO.
I did a couple of other steps as well. I set the MIDI channel to 10 on all of the pads and changed the color values. Here’s an example.
You should make sure the final template is save in the controller. You can call it up anytime you need it.
I use Sonar as my DAW (Free from Bandlab now!) – I’ve set up a nice template that has everything set up the way I like to start. If you do this you should have very little setup to do after you initialize everything.
A big thanks to Broken Bird Productions https://www.youtube.com/channel/UCRNjeL7ftmQYVfXuqqiGjiA
Please check out his YouTube videos and subscribe.
Here is my colorful MIKRO setup
Here’s my current drum setup in Superior Drummer
This cover is the Dave Edmunds version. Me and my Bandlab buddies @thelonewulfproject and @mojoespage.
Here’s an updated cover of the Beatles Fab Song called Because from Abbey Road. @kiwichrys from Bandlab helps out with some vocals here.
I added the bass line to this Bandlab collab with @beatledrex. Maybe I’ll update it with more instrumentation at some point.
Stephen Weber posted this on Drooble. It is a pretty cool idea. Zoom in for detail.
Here is a write up of how to interpret sample rate and beats per minute. An example involving 5/4 time is also included to demonstrate the concept.
You should be able to see the document below, but if you can’t, here is a link.
Here is an audio sample. It starts with 4 beats, then plays 5/4 for 4 measures then ends with 4 beats.
2019 is coming to an end. I put together two CDs of my collaborations with some very talented Bandlab musicians and also some solo efforts. I’m making them available to whoever wants them. The links below to Disk One and Disk Two will take you to pages that have a player that shows all of the songs on the CD. It allows you to download individual songs if you want. The player will cycle through all songs if you let it run.
I use a program called imgburn to create these images, and if you need it, you can use it to extract and burn the images to CD. It is free.
So, the process will be like this. Go to the DISK ONE and DISK TWO links. Download and UNZIP the image files. Take note of where they are saved. Normally it will be your DOWNLOADS folder. Then, if you need the software to create the CDs, go to the link about imgburn and download and install that program. Using either your own burner software, or the imgburn program, you will create your CDs from the two image files.
To download Disk One which you can burn to your own CD, click here.
To download Disk Two which you can burn to your own CD, click here.
To download imgburn and also get more information on how to install and use it, click here.
The two disk images are about 650MB each, so on a slow system it will take a while. There is a button on each disk page to download the CD images to your computer.
Unless you already have something to extract the CD images, you should install imgburn from the download link provided above. Once you have imgburn installed and the two CD images downloaded and unzipped you are ready to create your CDs.
If you see any errors or omissions on this site, please let me know.
Here are the contents for both disks.
Here is some information I have about each musician on the CD
@eipi – Dave is a Guitarist, Vocalist, Songwriter from the UK who wrote ‘Bend’, ‘This One’s for Her’ and ‘Band of Brothers’. He plays and sings on those songs, and also on ‘Norwegian Wood’, ‘Imagine’ and ‘Wild World’.
@rabbitwithmachinegun (Robert Foy) from Georgia, primarily a keyboard player, he prefers creating or collaborating on original works. He utilizes synth arps (kinda like a loop), and drum loops on occasion but mostly creates from scratch. He is a member of Without Focus and plays on ‘Bend’, ‘This One’s for Her’ and ‘Band of Brothers’.
@dawningday Guitar – Klint was part of the band Without Focus who worked on ‘Bend’ and ‘This One’s for Her’
@elizabethdarcel is a singer/songwriter from Kansas City, Missouri. She started singing at 4 years old in church choir then moved on to school performances. In 2017 she started focusing heavily on writing and producing her own music. Her influences are widespread across all genres – influences include John Mayer, Maggie Rogers & Fleetwood Mac. Her style varies from song to song easily switching between a folksy Americana feel while other tunes provide R&B, Country, Pop & Jazz feels. Most recently, Elizabeth was featured on Phat Talk Radio and the November Featured Artist for the Bandlab Blog as well as being regularly streamed on several internet radio stations. Elizabeth did the vocals on ‘Killing Me Softly’, ‘I’ll Be Around’, and ‘Walking in Memphis’ on this CD Set.
@eungang – Bill Farr is a songwriter and guitarist, formerly from the Boston area who now resides in the Land of the Morning Calm, S. Korea. Bill wrote ‘Night From Day’, ‘The Other Day’ and ‘The Nameless Heights’ and produces his own music. Along with his songs here, he also played on ‘Killing Me Softly’, ‘Norwegian Wood’ and ‘Wild World’, ‘San Tropez’ and ‘Lucky Man’.
@darrengarrett is a guitarist, bass player, keyboardist, drummer, vocalist and songwriter from the Winnipeg area. He sings on ‘Walking in Memphis’ and ‘Use Me’ on this CD set.
@thelonewulfproject Doug is a guitarist, vocalist and songwriter from the Des Moines area. He plays guitar on ‘Tupelo Honey’, ‘Well Wishes’, ‘Ruby’ and does vocals on ‘Here Comes the Sun’, ‘Mona Lisas and Mad Hatters’ and ‘From the Beginning’.
@kiwichrys is a songwriter, performer, vocalist, guitarist, music teacher, and songwriter from Auckland New Zealand. She wrote ‘Well Wishes’ and provided lyrics for ‘Words’ and performed on ‘Words’, ‘Well Wishes’, ‘Every Night’, Harvest Moon’, ‘Always Remember Us This Way’, ‘I Can’t Make You Love Me’.
@textured_grooves is a professional drummer from Manchester UK with over 30 years experience who does session work (both live or programmed). He played on ‘Someone Saved My Life Tonight’, ‘The Other Day’ and ‘The Nameless Heights’.
@azzronika Aaron is a guitarist, keyboardist, drummer, vocalist, songwriter, and bass player who provided vocals and some instrumentation on ‘Someone Saved My Life Tonight’ and ‘Mona Lisas and Mad Hatters’. His musical influences include Queen, The Beach Boys, Vocal harmony groups, Beatles, Muse, ELO, EJ and Film OSTs. He writes and has a large portfolio of original material. A pianist by trade, he loves arranging lots of instruments and sounds. Visit and subscribe to his YouTube page, won’t you?
@mojoespage Joe is a Guitarist, Keyboardist, Drummer, Vocalist, Songwriter, Bass Player from Florida. He likes to produce good music for singers. He produces all his tracks but prefers to have others perform the vocals. Check out his album, MoJoe & The Indispensables for his best collabs. Joe played guitar on ‘Mona Lisas and Mad Hatters’.
@cocobark – Cocobark is an Americana artist from Houston, Texas. She’s been compared to Natalie Merchant and Neko Case, but Coco’s distinct style is one of a kind. You can find her recent work on Spotify under “cocobark”. Coco sings and performs on ‘Tupelo Honey’, ‘Bad Moon Rising’, ‘You Don’t Know Me’ and ‘I Can’t Make You Love Me’.
@therealmadamez is from California, Madame Z is a singer/songwriter and multi-faceted creative talent whose music has been described as jazzy neo soul with a rock edge. www.madamezmusic.com – She wrote and sings on ‘Choose Happiness’.
@michelefortunato is a professional trombone player from Italy – he plays and records around the world. Michele played trombone on ‘Fall Apart Blues’.
@doesdwars From the Netherlands, Walter is a songwriting who is adept at composing, arranging and mixing all kinds of music. He plays guitar, bass, drums and is a vocalist. With kiwichrys , he wrote and produced the song ‘Words’ for this release.
@the_mooney_blues from West Virginia has been playing guitar and singing since the 90’s, and is also a vocalist. He is an in demand collaborator on Bandlab, and played and sang here on ‘Lucky Man’.
@paranoidcitizen – Veena is a Guitarist, Vocalist and Songwriter – She wrote and sang on ‘Dance Class’ for this release. She always enjoys playing around with novel and unique sounds. She grew up learning Indian classical singing and aspires to bring elements from her roots into her music. She also hopes to record her first EP of acoustic songs next year.
@gbailey Gerald Bailey is from Arkansas and has been playing guitar since he was 10. He has played on Bandlab with the Global Remotes and contributes his lead and rhythm guitar to many tracks on Bandlab. He plays here on ‘Dance Class’.
@jannasyn Kai Hale is a keyboardist, vocalist, songwriter and plays ukulele – She wrote and performs on ‘We’ll Get By’.
@steve2k2 A&M Recording Artist, Private Lightning Band, Home Recording, Cakewalk Sonar Platinum user, Love Izotope and Waves products. Based in Massachusetts, I provide whatever was not mentioned in these previous bios. Very thankful for all of the contributions from the many talented artists on these CDs.
Now this was fun. This is the original video of a live Bill Withers tune – The audio however is done by myself and Darren Garrett (@steve2k2 and @darrengarrett on Bandlab)
Here is the link to the audio file by itself
I’ve remixed and mastered this song
Here’s my version of one of my favorite old songs. @elizabethdarcel (Bandlab) does the great vocals and I do the instruments. There’s also a video available below.
In honor of 50 years of Abbey Road, here’s my version. @thelonewulfproject and @kiwichrys on vocals.
From one of my favorite albums https://en.wikipedia.org/wiki/Someone_Saved_My_Life_Tonight. Bandlab’s @azzronika on vocals and some synths, @textured_grooves drums. Thanks Aaron and Terry, hope you like it.
The Cars were a great band back in the late 70’s – it was a great time to be in Boston and in a band.