Recording - July 2011 - 64

By submitting a Readers’ Tapes entry you automatically grant permission to Music Maker Publications to feature your submission here, on our website, and in our SPOTLIGHT e-newsletter. We might need to shorten entries for editorial reasons. By listing your name with the submitted work, MMP does not imply any assignment of rights to the submitted work. We can neither guarantee publication of a review nor engage in correspondence about individual submissions. Media can be submitted physically (as in an actual recording through the mail) or online at our website. For online submissions, please go to www.recordingmag.com and click on Readers’ Tapes, then select “Submit Your Recording” and fill in the requested information. We accept MP3 and AAC files of up to 5 MB size. File bitrate is up to you but we strongly recommend a minimum of 128 kbps; note that the higher the bitrate, the shorter the song that will fit in the 5 MB limit. You’re free to submit an excerpt of a longer song if that helps! Send physical submissions to: Readers’ Tapes c/o Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301. Please be sure to include: a) a CD, CD-R, cassette, DAT, or MiniDisc with only one song preferably no longer than 3:30 in length (or tell us which track you want reviewed); b) a credit list (who did what); c) a list of equipment used. Remember that CDRs with unevenly applied paper labels, smudges, or scratches won’t play back reliably. PLEASE state which part of your contact info we can publish (address, phone, and/or email)—if you don’t tell us precisely, we won’t print anything at all.

Recording: Although our mission statement is really to focus on the technical aspect of things, once in a while we are simply blown away by the quality of the writing on the submissions that we get. Damn, Paul, ya done yourself proud! O.K., now on to the “techie” stuff. In his cover letter, Paul tells us that while he is a member of a five-piece band, he decided to wear all of the hats on this track. So how did he do? Well, pretty admirably for the most part. The acoustic guitars are full sounding and the tremolo electric provides some nice “jangle”. We also liked the way that the harmonica was recorded. No joke, folks, it can be one of the most difficult sound sources to capture, and Paul did it well. Less to our liking was a slightly unintelligible bass guitar part and the fact that the vocals, both the lead and harmonies, were set too far back into the mix, at least through our monitors. Suggestions: Nothing here that a few tweaks can’t cure. We suggest that Paul add some mids to his bass eq to bring out a little “bite”. As for the vocals, dude, you wrote a great tune, lyrics included... so let us hear them loud and proud!
Summary: We hope your music has a chance to be heard by a wider audience.
Contact: Paul Sticca, psticca2010@gmail.com, www.thechickenyard.com.

Paul Sticca / THeCHiCKeNYaRD
Equipment: TASCAM 2488neo digital multitrack recorder, JBL Control 2P monitors. Mics: AKG Perception 220 and Perception 170, Shure SM57s and Sm58s. Takamine acoustic guitars, Fender American Standard Stratocaster, Fender Tweed Blues Deluxe amp, BOSS Tremolo pedal, Fender Jazz Bass, Stewart drum set with Ludwig snare, Zildjian cymbals, cowbell, shakers, Hohner Blues Band harmonica.

Kyle Davids
Equipment: Propellerhead Reason 3.0, Roland electronic drums.

Music: “Count to Ten” is a male vocal rock song. Paul did it all at his home studio. In his own words: “I started with a dry acoustic guitar and vocal track miked through the Perception 220, then added the drums, which were miked overhead with the Perception 220, snare with Perception 170 (from about 2 feet away) and kick with a Shure SM57. I added some compression and short reverb to the drums. After that I added the bass line direct into the board with a little compression. Then I reran the acoustic guitars (you’ll hear two tracks panned—one strumming and one picking), both miked with the Perception 220 and Perception 170 at the same time, which gives it a really full sound, very little reverb. Then I added the Strat (again two tracks panned, one strumming and one picking), the picked part through the BOSS Tremolo pedal and then into the Fender Tweed Blues Deluxe amp miked with a SM58 and minor eq on the board. Then I added the two vocal parts, lead and backing, both miked via Perception 220, and got rid of the scratch track. Then, the harp miked through the Perception 220. Finally, added the shakers and cowbell for effect. Had a lot of fun with it, hope you’ll review and provides some constructive feedback. Thanks!”
64
RECORDING JULY 2011

Music: “Pico de Nablina” is a jazz instrumental. Kyle was the one-man-band on the project, playing everything himself. Recording: A “drummer by trade” (Tell it, bra’!), Kyle used a set of Roland electronic drums and keyboard/computer generated “instruments” to create this fine recording. We think that Kyle is perhaps a tad modest with his “just a drummer” persona. In addition to being a killer drummer, he is also a cut above when it comes to his composing, arranging, keyboard and mixing skills. Rarely have we heard a better sound/performance from an electronic kit, and the additional sound sources are quite “realistic” considering their origin. Our only real complaint is the amount of reverb placed on the drums, which to our ears give them a dated 1980s sound. Other than that, the cat can flat out bring it! Suggestions: All apologies to the often-maligned Phil Collins, the Uber-reverb so common in the drum recordings of the 1980s places a time stamp on the sound. Whether that is good or bad is a personal call, however in the case of “Pico De Nablina” it causes somewhat of a disconnect between the drums and the other sound sources. We would encourage Kyle to dial it back some for a better overall blend.
Summary: Talent as big as the reverb, no lie!
Contact: Kyle Davids, Hav3atps@hotmail.com.


http://www.recordingmag.com http://www.thechickenyard.com

Recording - July 2011

Table of Contents for the Digital Edition of Recording - July 2011

Recording - July 2011
Fade In
Contents
Talkback
Fast Forward
Put Your Foot Down!
A Guitar Gear Grab Bag
Fat Guitar Tones Without The Mud
Rupert Neve Designs Portico 5017
iOS Music Tools For Guitarists
Reviewed and Revisited: BOSS RC-30 Loop Station
Reviewed and Revisited: IK Multimedia AmpliTube 3.5
Tech21 Blonde
It’s Your Music—Know Your Rights. Chapter 16: Licensing Music For Video Games
Eventide Space
Recording’s Showcase of Sounds
TC Electronic Flashback, Shaker, and Hall Of Fame
Readers’ Tapes
Advertiser Index
Fade Out
Recording - July 2011 - Recording - July 2011
Recording - July 2011 - Cover2
Recording - July 2011 - 1
Recording - July 2011 - Fade In
Recording - July 2011 - 3
Recording - July 2011 - Contents
Recording - July 2011 - 5
Recording - July 2011 - Talkback
Recording - July 2011 - 7
Recording - July 2011 - Fast Forward
Recording - July 2011 - 9
Recording - July 2011 - 10
Recording - July 2011 - 11
Recording - July 2011 - Put Your Foot Down!
Recording - July 2011 - 13
Recording - July 2011 - 14
Recording - July 2011 - 15
Recording - July 2011 - 16
Recording - July 2011 - 17
Recording - July 2011 - 18
Recording - July 2011 - 19
Recording - July 2011 - 20
Recording - July 2011 - 21
Recording - July 2011 - A Guitar Gear Grab Bag
Recording - July 2011 - 23
Recording - July 2011 - 24
Recording - July 2011 - 25
Recording - July 2011 - 26
Recording - July 2011 - 27
Recording - July 2011 - 28
Recording - July 2011 - 29
Recording - July 2011 - 30
Recording - July 2011 - 31
Recording - July 2011 - 32
Recording - July 2011 - 33
Recording - July 2011 - Fat Guitar Tones Without The Mud
Recording - July 2011 - 35
Recording - July 2011 - 36
Recording - July 2011 - 37
Recording - July 2011 - Rupert Neve Designs Portico 5017
Recording - July 2011 - 39
Recording - July 2011 - iOS Music Tools For Guitarists
Recording - July 2011 - 41
Recording - July 2011 - 42
Recording - July 2011 - 43
Recording - July 2011 - Reviewed and Revisited: BOSS RC-30 Loop Station
Recording - July 2011 - 45
Recording - July 2011 - Reviewed and Revisited: IK Multimedia AmpliTube 3.5
Recording - July 2011 - 47
Recording - July 2011 - 48
Recording - July 2011 - 49
Recording - July 2011 - Tech21 Blonde
Recording - July 2011 - 51
Recording - July 2011 - 52
Recording - July 2011 - 53
Recording - July 2011 - 54
Recording - July 2011 - 55
Recording - July 2011 - It’s Your Music—Know Your Rights. Chapter 16: Licensing Music For Video Games
Recording - July 2011 - 57
Recording - July 2011 - Eventide Space
Recording - July 2011 - 59
Recording - July 2011 - Recording’s Showcase of Sounds
Recording - July 2011 - 61
Recording - July 2011 - TC Electronic Flashback, Shaker, and Hall Of Fame
Recording - July 2011 - 63
Recording - July 2011 - Readers’ Tapes
Recording - July 2011 - Advertiser Index
Recording - July 2011 - 66
Recording - July 2011 - 67
Recording - July 2011 - 68
Recording - July 2011 - 69
Recording - July 2011 - 70
Recording - July 2011 - 71
Recording - July 2011 - Fade Out
Recording - July 2011 - Cover3
Recording - July 2011 - Cover4
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