hobbit rock

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hobbit rock last won the day on October 6 2015

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About hobbit rock

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  1. Yeah. Carl Anderson is off the charts. The line that always slays me in his version is "We are occupied. Have you forgotten how put down we are?" .....gets me every time
  2. I feel the need to say something in Daniel's defense. The idea that he was making a sales pitch is way off base. It's worthwhile to keep in mind that anyone giving advice of any kind will most likely do so based on their own personal experience. Daniel has studied with some of the best in the business.....that's where he's coming from. There is nothing wrong with that and it's worked well for him. The variety of styles, the range, the falsetto, the rasp.....there's a hell of a lot of knowledge making all of that possible. I think the gym analogy is good although it doesn't support the argument as intended. If I were hanging around the gym asking random people about their workout routines REGARDLESS of their fitness level, I would think I'd only be able to take most of the advice with a grain of salt. But then if I asked a personal trainer about the same thing and we had a few exchanges back and forth...you know....just a couple of grown men talking about bench pressing.......and I said that I was having some trouble increasing the weight or something.......I think it would be appropriate for the professional (who makes his living, at least in part. helping people like me) to say, "book a session with me and we'll get it sorted out" Because the pro knows that it could be something small that's undermining the coordination. In the case of singing.....maybe the mouth is too wide on certain vowels, the posture sucks, the timing of the breath is off....the tongue position is getting in the way.....whatever. Think of it this way...an athlete works out with a coach. It's not a teacher/student relationship necessarily although the coach does teach him/her certain things. What the coach does much of the time is observe the way things are being executed and helps correct things when they are going sideways. And often these adjustments are incremental and would slip through the cracks of any casual conversation especially in text form.
  3. When I think of "Blues Shouter" I think of Taj Mahal. Killer musician all around. Massively underrated. One of my all time favorites. He even has a live album called "Shoutin in Key"
  4. I'm loving the fact that Harris and Hitchens are being discussed on a singing forum. I just have to say, there is no way that "the End of Faith" or "Letter to a Christian Nation" or "God is Not Great" were written to distract the public from the failings of physicists. Their arguments have much more to do with morality than anything else.
  5. So glad to see the Concrete Blonde love happening. Johnette gives me chills. Total bad ass. I had the good fortune to see them live in a small venue back in the day. She is the real deal. Great songwriting too.
  6. That's a great idea although I don't know what a sticky thread is. I have been trying to download Karaoke tracks to work on these things. Sometimes they're songs I don't even like that much. It's interesting though.....There maybe one tune that briefly touches a G#4 but lives for the most part around C#4 while another tune just sits on F4 for extended periods but doesn't really go any higher. The first song has the higher note but the second one is harder at least for me. There are also the tunes as I pointed out earlier in the thread that start on the high note and descend from there rather than building up to it. Those can be two unique challenges as well.
  7. Just to add one thing about consonants. Anyone who has done a fair amount of live singing through mic knows what a buzzkill those plosives are..... p and b especially. Before I knew anything about vocal technique I had figured out that I could skip off the plosives with a sort of "m" type sound and avoid the giant sub harmonic pop through the PA. Point is, I think that for me, I'm going to start taking more of a look at all the moving parts of a problem phrase to see what subtle tweaks might be available. Again this is just my experience...... and on the beginner/master continuum ......I am merely a humble fledgling
  8. This is so true about the consonants. Just as with the vowel modifications, I have found that softening or modifying the attack on some consonants can make the whole phrase feel more fluid or legato. I have been having trouble with the chorus for one of my original tunes for a while and I just realized that this might be part of the problem. The melody doesn't have any high notes (highest note in the phrase is c4) but there is a lot of melodic movement and a lot of words. My position keeps having to change unless I look for a common denominator and sort of bring everything in towards that place
  9. Cool man. Yeah. I'm a little further upstate. Nice mild winter we're having so far, huh? I just listened to those clips of Brad the street performer. Guy's good! Looks kind of like Stephen King. What a trip.
  10. Hey....That's Williamsburg, Brooklyn. I used to live there. Is that your 'hood Bob?
  11. Hey man. This is cool. Exciting stuff. First question....are you in or near a major city? If so, it's going to be easier to find a studio that can deliver the goods so to speak. Typically it can go like this......you find a studio that has recorded/mixed songs/albums that sound good to you and you contact them. Tell them a little about your project and then go to the studio for a quick tour. Meet the engineer(s). This would be the one key "fancy person" without whom you will have no recording. Generally speaking, a good artist or band who are well rehearsed and have thought things through can book studio time at a good facility with a capable engineer at the helm and walk out with a great sounding product. This would be assuming that the same engineer who was recording you (miking everything, pressing record etc.) would be the same one mixing the song. Some people like to have different sets of ears on the project so they will have one person record the session and another mix it. This wouldn't make sense for one song because it would be more efficient for the engineer to "mix as you go". In other words, instead of just listening back to raw tracks as you layer and overdub on top of them, the engineer would sort of be cleaning things up, tweaking and EQing during the process of overdubbing. This is a cool way to work. It's actually what I aspire to do when I get back in the studio. Singles used to be recorded this way all the time. A song in a day. There's something really great about just focusing on one thing and not leaving decisions on the back burner. That's what kills recording projects. Example- We don't know what sound we want for this guitar or that guitar, or how we want to pan them, so let's just record them dry as a bone and make a decision later..........as opposed to.........we all have ears, and we're committed to tracking and mixing this thing right now, so if there's a decision to be made, let's make it. What sounds good? Analog delay? Great let's track that guitar with a delay pedal so the guitarist can be inspired by the sonic quality of it. It's a more live kind of an approach even if you are overdubbing one thing at a time, brick by brick which it sounds like you would be. And you could do it over the course of a few days....don't let that song in a day thing scare you. I was talking about the early days....fifties, sixties etc. ....4 or 8 tracks....monster session players. They'd just bang it out and mix it on the spot. As far as mastering.....you probably would get a third party to do this. This is different than mixing. Mixing is taking all of the tracks..... 16, 24, 48 or however many tracks you have (a drum set can easily account for 10 tracks with all the mikes people put on them. That's not my style but whatever) and mixing them down to 2 tracks...left and right. Mastering is taking that 2 track stereo mix and making it "pop" which is what you want. That's probably all you should know about the mastering process. Let it remain mysterious. A good studio could tell you whether they have a mastering engineer they work with or whether they would do it there. Mastering one song might be worth just doing at the same facility. It would only take a fraction of the time that tracking and mixing would take so don't be scared off by the mastering process. It's the final step. The other "fancy person" that you might want to strongly consider is a producer. If cost isn't too much of an issue and you're really gunning for a stellar result AND you have no recording experience it might be something to think about. It's real easy to get bogged down in minutia during the course of a tracking session and at the same time miss some other crucial detail. A producer has an objectivity that an artist ( especially a singer ) often can't have. Many engineers are comfortable wearing the producer hat for a session because they do it so often by default. A lot of people think a producer is the person who puts their sonic imprint on something and often that's true. But he/she can also just be the person who sort of moves the session along, keeps the momentum going, keeps the energy up, listens for mundane stuff like a stray snare hit so the singer/ songwriter doesn't have to. Performers need to be able to be in performing mode on tracking day. And professionals need to be there to capture the great performance when it happens. You could also ask a musician friend to produce the session for you. But it would have to be someone who had their act together and had a fair amount of session experience.