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Es un espacio donde la diversidad musical se entrelaza armónicamente durante una charla amena.

Con Alan Murillo

Es un espacio donde la diversidad musical se entrelaza armónicamente durante una charla amena. Con Alan Murillo

ECLÉCTICO

Geregeld gaan we in HipHopTalkies in gesprek met een andere gast die actief is binnen de 4 elementen van hip-hop. We staan in deze podcast stil bij hun carrière maar ook bij de persoon achter de hiphopper.

Deze podcast wordt gemaakt door Louis Vanoo Producties in opdracht van Plus32B.

Geregeld gaan we in HipHopTalkies in gesprek met een andere gast die actief is binnen de 4 elementen van hip-hop. We staan in deze podcast stil bij hun carrière maar ook bij de persoon achter de hiphopper. Deze podcast wordt gemaakt door Louis Vanoo Producties in opdracht van Plus32B.

HipHopTalkies [+32B]

Everything you love about music in one place.
#HEEPMusic

Everything you love about music in one place. #HEEPMusic

HEEP! Music

The best of KORN Country 100.3 in podcast form!

KORNcast by KORN Country 100.3

Tinnitus es un programa donde la selección musical tiene relación con distintos lugares y vivencias de la ciudad de Cochabamba

Tinnitus

En este Podcast hablaremos de las cosas más comunes y las conectaremos con música. En cada capítulo armaremos un Playlist. Ven, relájate, entra con nosotras a Sentido Musical Podcast.

Sentido Musical Podcast

Conversations with Songs and Songwriters
Join Sean McGaughey and guest songwriters as they explore the motivations and process of songwriting.

Conversations with Songs and Songwriters Join Sean McGaughey and guest songwriters as they explore the motivations and process of songwriting.

podcast – Sean McGaughey- For the Sake of the Song

Laurent et les Truands est un show disjoncté qui donne la parole à une panoplie de chroniqueurs et invités qui sortent des sentiers battus. On y aborde une multitude de sujets (actualité, sports, musique, etc). Devenez un Truand et syntonisez CJMD 96,9 du lundi au jeudi de Midi&nbsp;à 15h!&nbsp; <hr> Hébergé par Acast. Visitez <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> pour plus d'informations.

Laurent et les Truands est un show disjoncté qui donne la parole à une panoplie de chroniqueurs et invités qui sortent des sentiers battus. On y aborde une multitude de sujets (actualité, sports, musique, etc). Devenez un Truand et syntonisez CJMD 96,9 du lundi au jeudi de Midi à 15h!   Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Laurent et les Truands est un show disjoncté qui donne la parole à une panoplie de chroniqueurs et invités qui sortent des sentiers battus. On y aborde une multitude de sujets (actualité, sports, musique, etc). Devenez un Truand et syntonisez CJMD 96,9 du lundi au jeudi de Midi&nbsp;à 15h!&nbsp; Hébergé par Acast. Visitez <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> pour plus d'informations.

LAURENT ET LES TRUANDS | CJMD 96,9 FM LÉVIS | L'ALTERNATIVE RADIOPHONIQUE

Gastmixe und -Podcast aus dem Electronic Beatz Network.

Label Cases

Royski, a Southern California native now living in Minneapolis, MN became well known for his sharp mixing style and very innovative track selections. Royski is well known for his amazing versatility and range, with a unique depth of knowledge in many musical genres. He can mix everything from House, Trance, Tech-House, Progressive House, Deep House, and 80's New Wave. His specialty is House Music, Trance and 80's New Wave. His main focus is his bi-weekly Podcast "Club Compassion" and "Royski Ride The 80's Wave" that's got national and global recognition. I just launched on Patreon! Check out my new page here: https://www.patreon.com/royski Check out his website at www.djroyski.com

Royski, a Southern California native now living in Minneapolis, MN became well known for his sharp mixing style and very innovative track selections. Royski is well known for his amazing versatility and range, with a unique depth of knowledge in many musical genres. He can mix everything from House, Trance, Tech-House, Progressive House, Deep House, and 80's New Wave. His specialty is House Music, Trance and 80's New Wave. His main focus is his bi-weekly Podcast "Club Compassion" and "Royski Ride The 80's Wave" that's got national and global recognition. I just launched on Patreon! Check out my new page here: https://www.patreon.com/royski Check out his website at www.djroyski.com

Royski's Club Compassion Podcast & Royski's Ride The 80's Wave Podcast

It’s Tricky with Raquel Harper&nbsp;is a weekly podcast hosted by one of the most fearless & outspoken voices in entertainment. Raquel is a longtime host, journalist & producer who is responsible for breaking some of the biggest stories in hip-hop and entertainment. Each episode, Raquel goes one-on-one with the hottest names in black culture.

It’s Tricky with Raquel Harper is a weekly podcast hosted by one of the most fearless & outspoken voices in entertainment. Raquel is a longtime host, journalist & producer who is responsible for breaking some of the biggest stories in hip-hop and entertainment. Each episode, Raquel goes one-on-one with the hottest names in black culture.

It’s Tricky with Raquel Harper&nbsp;is a weekly podcast hosted by one of the most fearless &amp; outspoken voices in entertainment. Raquel is a longtime host, journalist &amp; producer who is responsible for breaking some of the biggest stories in hip-hop and entertainment. Each episode, Raquel goes one-on-one with the hottest names in black culture.

It's Tricky with Raquel Harper

South African House Music Dj based in the heart of Gauteng, Johannesburg.

Dj Poodle

Mariah & Ty bring you After Hours, an extra weekly serving of the things you didn’t hear on their radio show! To put it plainly, we're leaving the fat on the steak, the skin on the chicken, it’s the full meal deal! Grab a drink and enjoy the show! After Hours uploads Thursday nights, and be sure to catch Mariah & Ty daily on the radio!

Mariah &amp; Ty bring you After Hours, an extra weekly serving of the things you didn’t hear on their radio show! To put it plainly, we're leaving the fat on the steak, the skin on the chicken, it’s the full meal deal! Grab a drink and enjoy the show! After Hours uploads Thursday nights, and be sure to catch Mariah &amp; Ty daily on the radio!

After Hours with Mariah & Ty

L’émission hebdomadaire metal et alternative rock de RSTLSS, en direct sur Twitch tous les dimanches, puis en podcast et en VOD sur YouTube tous les vendredis !

Bang!Bang! RSTLSS

Two Front Guys talking about anything we want.

Two Front Guys talking about anything we want.

Will & Nick's Two Front Guys

Le podcast vidéo Pianoforte va te permettre de mieux me connaître et de savoir comment je vois l’apprentissage de la musique et du piano. Dans les épisodes plus « Piano », je vais te parler de trucs plus personnels, plus introspectifs. Dans les épisodes « Forte », je vais prendre position sur un sujet qui me tient à coeur dans le monde du piano et de la musique.

Le podcast vidéo Pianoforte va te permettre de mieux me connaître et de savoir comment je vois l’apprentissage de la musique et du piano. Dans les épisodes plus « Piano », je vais te parler de trucs plus personnels, plus introspectifs. Dans les épisodes « Forte », je vais prendre position sur un sujet qui me tient à coeur dans le monde du piano et de la musique.

Pianoforte, par Piano, Boulot, Dodo

Chuckie Fresh débite ses cashmere thoughts sur le HipHop<hr> Hébergé par Acast. Visitez <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> pour plus d'informations.

Chuckie Fresh débite ses cashmere thoughts sur le HipHop Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Chuckie Fresh débite ses cashmere thoughts sur le HipHop Hébergé par Acast. Visitez <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> pour plus d'informations.

The Chuckie Fresh Podcast

沉默的伙伴。 (来自： https://music.163.com/djradio?id=347 )

鬼台

Every Tuesday morning, tune into Margaret for Celebrity Obituaries with Greg Lynch, the latest from Crime Stoppers, special guests, tips for around the home, and great Celtic music.
Every Tuesday 9-11am on 96.5 Inner FM Melbourne!

Every Tuesday morning, tune into Margaret for Celebrity Obituaries with Greg Lynch, the latest from Crime Stoppers, special guests, tips for around the home, and great Celtic music. Every Tuesday 9-11am on 96.5 Inner FM Melbourne!

Tuesday Morning Magazine

Arte y Duende. Programa de flamenc i cançó espanyola, presentat per Simón Farelo.

Arte y Duende

Introducing "Patriots Inside The Wire" Voices of Valor - where every beat, every story, every note resonates with the heartbeat of people and their community. Join us for a dynamic online broadcast that transcends boundaries, weaving together music, Patriot Fest, concerts, art, sports, real news, events, and the powerful narratives of people everywhere. Patriots, 1st Responders, Veterans, Angel Families and ALL those we have lost in so many ways outside of just military too. 

We have shows for everyone with live music, truth, comedy, breaking news, people, growth, journeys, paths, loss, grief, cancer, support, retreats, and raw truth. PITW is all about taking care of people and giving a voice to the voiceless. Within our Video Podcast and Audio Podcasts we have multiple resources, retreats, and organizations to support in every facet. 



With current information, trends, song contests, courses, hot topics, crime, kindness, and highlights that are not just for military we are for the people! Through captivating storytelling about the brave souls of people and their journeys to the front lines and veterans, the impact of current events we all face at home, and the universal language of music with rising artists and upcoming concerts, Patriots Inside The Wire fosters a sense of community with the interactive segments of our live shows! 



Tune in, join the conversation, and become a part of something bigger than yourself! 



A Gold Star Mom (GSM) Hosts, the behind-the-scenes true stories after Sgt. 2Step her active duty service member was killed. we rise up to change things for those who may be gone, but they are not forgotten. As a Gold Star Mom we will always remember and honor the service and sacrifice of all those who serve and have served and the families!


HONOR, RESPECT, SUPPORT, and KINDNESS are free. Please share this podcast with your friends and family, and tune in for the next episode! You can find us at PATRIOTSINSIDETHEWIRE.COM, on YouTube TV, and social media. You can also listen to us on every podcast station and watch on a live TV broadcast.

ALL RIGHTS RESERVED TO PITW SHOW AND NO MATERIAL OR SHOW IS ALLOWED TO BE USED. THE SHOW IS NOT AFFILIATED WITH ANY ORGANIZATION OR PERMISSABLE BY LAW UNDER THE 1ST AMMENDMENT OR ANY CIRCUMSTANCES EXCEPT BY PITW PRODUCTION JMT.

Introducing "Patriots Inside The Wire" Voices of Valor - where every beat, every story, every note resonates with the heartbeat of people and their community. Join us for a dynamic online broadcast that transcends boundaries, weaving together music, Patriot Fest, concerts, art, sports, real news, events, and the powerful narratives of people everywhere. Patriots, 1st Responders, Veterans, Angel Families and ALL those we have lost in so many ways outside of just military too. We have shows for everyone with live music, truth, comedy, breaking news, people, growth, journeys, paths, loss, grief, cancer, support, retreats, and raw truth. PITW is all about taking care of people and giving a voice to the voiceless. Within our Video Podcast and Audio Podcasts we have multiple resources, retreats, and organizations to support in every facet. With current information, trends, song contests, courses, hot topics, crime, kindness, and highlights that are not just for military we are for the people! Through captivating storytelling about the brave souls of people and their journeys to the front lines and veterans, the impact of current events we all face at home, and the universal language of music with rising artists and upcoming concerts, Patriots Inside The Wire fosters a sense of community with the interactive segments of our live shows! Tune in, join the conversation, and become a part of something bigger than yourself! A Gold Star Mom (GSM) Hosts, the behind-the-scenes true stories after Sgt. 2Step her active duty service member was killed. we rise up to change things for those who may be gone, but they are not forgotten. As a Gold Star Mom we will always remember and honor the service and sacrifice of all those who serve and have served and the families! HONOR, RESPECT, SUPPORT, and KINDNESS are free. Please share this podcast with your friends and family, and tune in for the next episode! You can find us at PATRIOTSINSIDETHEWIRE.COM, on YouTube TV, and social media. You can also listen to us on every podcast station and watch on a live TV broadcast. ALL RIGHTS RESERVED TO PITW SHOW AND NO MATERIAL OR SHOW IS ALLOWED TO BE USED. THE SHOW IS NOT AFFILIATED WITH ANY ORGANIZATION OR PERMISSABLE BY LAW UNDER THE 1ST AMMENDMENT OR ANY CIRCUMSTANCES EXCEPT BY PITW PRODUCTION JMT.

Patriots Inside The Wire

DISCO DOC THE BEST DISCO IN TOWN , il programma che va in onda su GBJ STATION, la collwzione privata di mix in vinile del nostro DARKCEST DJ.

disco doc the best disco in town

Inkyed

Welcome to the Market Your Music podcast by Adam Ivy! Join us every week as Adam unveils his secrets to skyrocket your music's success. With decades of experience collaborating with music industry giants, Adam will empower you with invaluable advice to amplify your exposure and elevate your music game. Don't miss out - subscribe now and embark on a thrilling journey to unleash your musical potential!

Market Your Music

This explores the journey and impact of American pop rock band Imagine Dragons. It highlights their musical style, key albums, and hit songs, including Grammy Award-winning "Radioactive." The piece also delves into the band's philanthropic efforts and powerful live performances, illustrating their influence in both the music industry and broader cultural conversations.

This content was created in partnership and with the help of Artificial Intelligence AI.

This explores the journey and impact of American pop rock band Imagine Dragons. It highlights their musical style, key albums, and hit songs, including Grammy Award-winning "Radioactive." The piece also delves into the band's philanthropic efforts and powerful live performances, illustrating their influence in both the music industry and broader cultural conversations. This content was created in partnership and with the help of Artificial Intelligence AI.

Imagine Dragons

4oepackmobb

What is a Juggalo? There's a lot of different answers to that question as it turns out, and most of them have the word "fuck" in them. The short answer is a hardcore fan of the Detroit Wicked Shit Rap duo the Insane Clown Posse, or as they are more colloquially known, ICP. The full answer, however, may surprise you.
People have always assumed that Juggalos are mostly just a bunch of white trash losers who constantly act a fool and do tons of drugs at concerts and their annual festival, The Gathering of the Juggalos. Those people are correct. If you can get past the grit and grime though, you'll be made privy to a world you might have never though possible. Juggalo Culture is a very real and deeply hallowed thing to hundreds of thousands of American men, women and children, if not millions of people the world over. We're looked at as outcasts, and that might be true, but for all of our obsession with Axes, facepaint, and cheap soda pop there is a tangible and powerful energy at the core of this following.
Join two long time adherents of Juggalo Culture, Madd Maxxx and Reverend Television, as they take you on a journey through the smoke and carnival rides of the Juggalo Worldwith a look at Juggalo Culture that very few others could give you. Maxxx, a self proclaimed Juggalo Rapper of nearly 20 years, got his start in 2004 when Violent J flew him to Detroit to see if he wanted to work with him after hearing one of his songs online. Spoiler alert, he didn't. With that said, he has lived, eaten, slept, and breathed Juggalo culture since many years before that moment and every single moment since. The same could be said of Reverend Television, a longtime Juggalo who has been making independent art, music, and movies since the early 2000's. His work is gritty and subversive, and he credits Juggalo Culture as one of his most influential inspirations. This isn't just a couple of dimwits getting stoned and talking about a bunch of stupid shit. Well, it is that, but it's much more than that. This is a much more educated, even academic look at the works of not only just the Insane Clown Posse, but the multitude of other artists and musicians who have at one time or another entered the sphere of Juggalo Culture. Artists like Ice T, Snoop Dog, Eminem, the Beastie Boys, and that's just the famous ones. That doesn't include the dozens if not hundreds of artists out there who work with ICP or have been directly influenced by their work. There is much, much more through the gates on The Carnival Grounds than you could have ever imagined, so step right up and buy your tickets. There'll thrills, chills, and at least a few spills, though they wont be spills you want to be anywhere near. Unless it's some Faygo, of course.

What is a Juggalo? There's a lot of different answers to that question as it turns out, and most of them have the word "fuck" in them. The short answer is a hardcore fan of the Detroit Wicked Shit Rap duo the Insane Clown Posse, or as they are more colloquially known, ICP. The full answer, however, may surprise you. People have always assumed that Juggalos are mostly just a bunch of white trash losers who constantly act a fool and do tons of drugs at concerts and their annual festival, The Gathering of the Juggalos. Those people are correct. If you can get past the grit and grime though, you'll be made privy to a world you might have never though possible. Juggalo Culture is a very real and deeply hallowed thing to hundreds of thousands of American men, women and children, if not millions of people the world over. We're looked at as outcasts, and that might be true, but for all of our obsession with Axes, facepaint, and cheap soda pop there is a tangible and powerful energy at the core of this following. Join two long time adherents of Juggalo Culture, Madd Maxxx and Reverend Television, as they take you on a journey through the smoke and carnival rides of the Juggalo Worldwith a look at Juggalo Culture that very few others could give you. Maxxx, a self proclaimed Juggalo Rapper of nearly 20 years, got his start in 2004 when Violent J flew him to Detroit to see if he wanted to work with him after hearing one of his songs online. Spoiler alert, he didn't. With that said, he has lived, eaten, slept, and breathed Juggalo culture since many years before that moment and every single moment since. The same could be said of Reverend Television, a longtime Juggalo who has been making independent art, music, and movies since the early 2000's. His work is gritty and subversive, and he credits Juggalo Culture as one of his most influential inspirations. This isn't just a couple of dimwits getting stoned and talking about a bunch of stupid shit. Well, it is that, but it's much more than that. This is a much more educated, even academic look at the works of not only just the Insane Clown Posse, but the multitude of other artists and musicians who have at one time or another entered the sphere of Juggalo Culture. Artists like Ice T, Snoop Dog, Eminem, the Beastie Boys, and that's just the famous ones. That doesn't include the dozens if not hundreds of artists out there who work with ICP or have been directly influenced by their work. There is much, much more through the gates on The Carnival Grounds than you could have ever imagined, so step right up and buy your tickets. There'll thrills, chills, and at least a few spills, though they wont be spills you want to be anywhere near. Unless it's some Faygo, of course.

Juggalo News Presents: The Carnival Grounds with Madd Maxxx and Reverend Television

Long Live (Taylor's Version) sped up

Playboi carti
 
 
#IAMMUSIC

KETAMINE

magicdjs's PodCast

Radio Alegre 24 hours la mejor musica Latina

Radio Alegre Canada

蒲剧又称“蒲州梆子”，当地人通称“乱弹戏”，是我国最古老的汉族民间戏曲艺术之一。因兴于山西晋南古蒲州一带而得名。蒲剧在清代乾隆时期外省称“乱弹”、“晋腔”、“山陕<a target="_blank" style="color:#4990E2;text-decoration:none;">梆子腔</a>”等；嘉庆、道光以后，又称“山西梆子”；陕西称东路戏，山西省北、中部称“南路戏”；晋南当地则习惯称“大戏”或“乱弹”。蒲剧约形成于明代嘉靖年间。山西省<a target="_blank" style="color:#4990E2;text-decoration:none;">汉族戏曲</a>剧种之一,它是“<a target="_blank" style="color:#4990E2;text-decoration:none;">山西四大梆子</a>”中最古老的一种。流行于山西南部各县和陕西、甘肃、青海、宁夏、<a target="_blank" style="color:#4990E2;text-decoration:none;">内蒙古自治区</a>的部分地区。蒲州地处黄河中游，其大庆关渡口毗连山西、陕西，最古代南方丝瓷通往西北的交通要道，商业兴隆，经济文化繁荣，为戏曲的发展、交流创造了有利条件。金元时期，这里金院本、<a target="_blank" style="color:#4990E2;text-decoration:none;">元杂剧</a>的演出极为盛行；明清以来，又是梆子、乱弹活动的重要基地，故素有“戏曲之乡”之称。

蒲剧又称“蒲州梆子”，当地人通称“乱弹戏”，是我国最古老的汉族民间戏曲艺术之一。因兴于山西晋南古蒲州一带而得名。蒲剧在清代乾隆时期外省称“乱弹”、“晋腔”、“山陕梆子腔”等；嘉庆、道光以后，又称“山西梆子”；陕西称东路戏，山西省北、中部称“南路戏”；晋南当地则习惯称“大戏”或“乱弹”。蒲剧约形成于明代嘉靖年间。山西省汉族戏曲剧种之一,它是“山西四大梆子”中最古老的一种。流行于山西南部各县和陕西、甘肃、青海、宁夏、内蒙古自治区的部分地区。蒲州地处黄河中游，其大庆关渡口毗连山西、陕西，最古代南方丝瓷通往西北的交通要道，商业兴隆，经济文化繁荣，为戏曲的发展、交流创造了有利条件。金元时期，这里金院本、元杂剧的演出极为盛行；明清以来，又是梆子、乱弹活动的重要基地，故素有“戏曲之乡”之称。

蒲剧又称“蒲州梆子”，当地人通称“乱弹戏”，是我国最古老的汉族民间戏曲艺术之一。因兴于山西晋南古蒲州一带而得名。蒲剧在清代乾隆时期外省称“乱弹”、“晋腔”、“山陕<a rel="noopener noreferrer">梆子腔</a>”等；嘉庆、道光以后，又称“山西梆子”；陕西称东路戏，山西省北、中部称“南路戏”；晋南当地则习惯称“大戏”或“乱弹”。蒲剧约形成于明代嘉靖年间。山西省<a rel="noopener noreferrer">汉族戏曲</a>剧种之一,它是“<a rel="noopener noreferrer">山西四大梆子</a>”中最古老的一种。流行于山西南部各县和陕西、甘肃、青海、宁夏、<a rel="noopener noreferrer">内蒙古自治区</a>的部分地区。蒲州地处黄河中游，其大庆关渡口毗连山西、陕西，最古代南方丝瓷通往西北的交通要道，商业兴隆，经济文化繁荣，为戏曲的发展、交流创造了有利条件。金元时期，这里金院本、<a rel="noopener noreferrer">元杂剧</a>的演出极为盛行；明清以来，又是梆子、乱弹活动的重要基地，故素有“戏曲之乡”之称。

【山西蒲剧】专辑片段

While going through old recordings from the way back machine, I stumbled upon these tracks from my old high school band.  After receiving my first 4-track cassette recorder in 1994 (which I still have and still works), we spent the following two years doing countless recording sessions, with the last one being Christmas of 1996.  We did a lot of recordings, but this is the best 13.  
	The recording process consisted of us cutting the tracks individually to isolate each instrument, as in most recordings.  Drums first, bass, guitar, then vocals, and then the next day, with rested ears, I would mix it down.  To capture the drums, we rented a PA system with studio-quality drum microphones capturing the best sound possible and then squashing the whole kit into one Mono (not stereo) track.  Remember, we only had 4-tracks to work with, and it was before digital, and the media was an analog cassette tape.
	After getting the drums down, I would cut my bass tracks.  Using an Ampeg combo with a 15” speaker and two tracks left (3 total), I would mic up the center of the speaker cone with an SM57 and the edge of the cone with one of the kick drum mics angled at 45 degrees, (estimated as we were drinking a lot of beer the whole time) each microphone going to its separate track.  So with the drums on track 3, the bass split between 1 and 2, and track 4 completely free, I would even out the two bass sounds and blend them with the drum track getting the perfect rhythm section balanced, and then bounce them (mix them) together squashing them into one mono track on track 4 leaving tracks 1,2, & 3, free for guitar work and vocals.  
	That was the basic plan for every song; however, we would deviate from that plan depending on the need for the song.  For the rhythm guitar, all the songs have just one rhythm recorded on a mono track, and in some of them, such as “BlueBeer” it is pretty apparent.  But in tracks like “Teresa” & “Need,” etc., it sounds a bit thicker and more comprehensive and more than one.  For recording the guitar tracks, I used one microphone (SM57) directly on the speaker, pointing straight just within three inches of the speaker.  Two microphones (SM58) 3 yards back from the speaker, and one SM58 focused directly on the wall for reflection.  One guitar track, 4 microphones strategically placed about captured loud and squashed down into ONE MONO tracks.  During mix-down, I would take all that craziness and pan it hard left, then add a BOSS delay pedal, producing a millisecond delayed carbon copy on the right in real time.  This gives the illusion of two guitars or at least a full stereo spread.  
	At the start of the 3 years, I didn’t know much, if anything at all, about compressors, until later in 97, and the discernible differences are prevalent within the vocal tracks.  I had to have Daniel stand a considerable distance away from the microphones so as not to distort, and I was controlling the fader as he cut the track, acting as a real-time human attenuator. There are three songs in the collection that the vocals sound balanced, and they were recorded on my first winter break from Berklee, where my engineering knowledge grew. “Mr. Coaster,” “Jaded,” & “Purple” are those three tracks… and the last ones we did.  

For the remastering process, I used iZotope RX 10 & Ozone Pro 10 from the original DAT tapes used in 2002 for CD mastering.  The 2022 mastering was for streaming specifically.  I still have the original 4 track recorder and the original session tapes.  I could remix them but maybe another time.  But more than likely not.  I like how they are preserved for the time and technology used to record.  So enjoy them; I don’t think there will be another revisiting of them again.

While going through old recordings from the way back machine, I stumbled upon these tracks from my old high school band. After receiving my first 4-track cassette recorder in 1994 (which I still have and still works), we spent the following two years doing countless recording sessions, with the last one being Christmas of 1996. We did a lot of recordings, but this is the best 13. The recording process consisted of us cutting the tracks individually to isolate each instrument, as in most recordings. Drums first, bass, guitar, then vocals, and then the next day, with rested ears, I would mix it down. To capture the drums, we rented a PA system with studio-quality drum microphones capturing the best sound possible and then squashing the whole kit into one Mono (not stereo) track. Remember, we only had 4-tracks to work with, and it was before digital, and the media was an analog cassette tape. After getting the drums down, I would cut my bass tracks. Using an Ampeg combo with a 15” speaker and two tracks left (3 total), I would mic up the center of the speaker cone with an SM57 and the edge of the cone with one of the kick drum mics angled at 45 degrees, (estimated as we were drinking a lot of beer the whole time) each microphone going to its separate track. So with the drums on track 3, the bass split between 1 and 2, and track 4 completely free, I would even out the two bass sounds and blend them with the drum track getting the perfect rhythm section balanced, and then bounce them (mix them) together squashing them into one mono track on track 4 leaving tracks 1,2, & 3, free for guitar work and vocals. That was the basic plan for every song; however, we would deviate from that plan depending on the need for the song. For the rhythm guitar, all the songs have just one rhythm recorded on a mono track, and in some of them, such as “BlueBeer” it is pretty apparent. But in tracks like “Teresa” & “Need,” etc., it sounds a bit thicker and more comprehensive and more than one. For recording the guitar tracks, I used one microphone (SM57) directly on the speaker, pointing straight just within three inches of the speaker. Two microphones (SM58) 3 yards back from the speaker, and one SM58 focused directly on the wall for reflection. One guitar track, 4 microphones strategically placed about captured loud and squashed down into ONE MONO tracks. During mix-down, I would take all that craziness and pan it hard left, then add a BOSS delay pedal, producing a millisecond delayed carbon copy on the right in real time. This gives the illusion of two guitars or at least a full stereo spread. At the start of the 3 years, I didn’t know much, if anything at all, about compressors, until later in 97, and the discernible differences are prevalent within the vocal tracks. I had to have Daniel stand a considerable distance away from the microphones so as not to distort, and I was controlling the fader as he cut the track, acting as a real-time human attenuator. There are three songs in the collection that the vocals sound balanced, and they were recorded on my first winter break from Berklee, where my engineering knowledge grew. “Mr. Coaster,” “Jaded,” & “Purple” are those three tracks… and the last ones we did. For the remastering process, I used iZotope RX 10 & Ozone Pro 10 from the original DAT tapes used in 2002 for CD mastering. The 2022 mastering was for streaming specifically. I still have the original 4 track recorder and the original session tapes. I could remix them but maybe another time. But more than likely not. I like how they are preserved for the time and technology used to record. So enjoy them; I don’t think there will be another revisiting of them again.

While going through old recordings from the way back machine, I stumbled upon these tracks from my old high school band.  After receiving my first 4-track cassette recorder in 1994 (which I still have and still works), we spent the following two years doing countless recording sessions, with the last one being Christmas of 1996.  We did a lot of recordings, but this is the best 13.  
	The recording process consisted of us cutting the tracks individually to isolate each instrument, as in most recordings.  Drums first, bass, guitar, then vocals, and then the next day, with rested ears, I would mix it down.  To capture the drums, we rented a PA system with studio-quality drum microphones capturing the best sound possible and then squashing the whole kit into one Mono (not stereo) track.  Remember, we only had 4-tracks to work with, and it was before digital, and the media was an analog cassette tape.
	After getting the drums down, I would cut my bass tracks.  Using an Ampeg combo with a 15” speaker and two tracks left (3 total), I would mic up the center of the speaker cone with an SM57 and the edge of the cone with one of the kick drum mics angled at 45 degrees, (estimated as we were drinking a lot of beer the whole time) each microphone going to its separate track.  So with the drums on track 3, the bass split between 1 and 2, and track 4 completely free, I would even out the two bass sounds and blend them with the drum track getting the perfect rhythm section balanced, and then bounce them (mix them) together squashing them into one mono track on track 4 leaving tracks 1,2, &amp; 3, free for guitar work and vocals.  
	That was the basic plan for every song; however, we would deviate from that plan depending on the need for the song.  For the rhythm guitar, all the songs have just one rhythm recorded on a mono track, and in some of them, such as “BlueBeer” it is pretty apparent.  But in tracks like “Teresa” &amp; “Need,” etc., it sounds a bit thicker and more comprehensive and more than one.  For recording the guitar tracks, I used one microphone (SM57) directly on the speaker, pointing straight just within three inches of the speaker.  Two microphones (SM58) 3 yards back from the speaker, and one SM58 focused directly on the wall for reflection.  One guitar track, 4 microphones strategically placed about captured loud and squashed down into ONE MONO tracks.  During mix-down, I would take all that craziness and pan it hard left, then add a BOSS delay pedal, producing a millisecond delayed carbon copy on the right in real time.  This gives the illusion of two guitars or at least a full stereo spread.  
	At the start of the 3 years, I didn’t know much, if anything at all, about compressors, until later in 97, and the discernible differences are prevalent within the vocal tracks.  I had to have Daniel stand a considerable distance away from the microphones so as not to distort, and I was controlling the fader as he cut the track, acting as a real-time human attenuator. There are three songs in the collection that the vocals sound balanced, and they were recorded on my first winter break from Berklee, where my engineering knowledge grew. “Mr. Coaster,” “Jaded,” &amp; “Purple” are those three tracks… and the last ones we did.  

For the remastering process, I used iZotope RX 10 &amp; Ozone Pro 10 from the original DAT tapes used in 2002 for CD mastering.  The 2022 mastering was for streaming specifically.  I still have the original 4 track recorder and the original session tapes.  I could remix them but maybe another time.  But more than likely not.  I like how they are preserved for the time and technology used to record.  So enjoy them; I don’t think there will be another revisiting of them again.

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SKORESOUND

ADP Triple A

Mirrored Love

Stories and insights from leading jazz and blues artists interviewed during KNKX Studio Sessions.

Studio Session Shorts

新時代ロックバンド「171」の3人が音楽の話、日々の気づき、考え方などを語りながらメンバー同士、そしてリスナーとの”グルーヴ”を実験するPodcast。3人の知られざるパーソナルな部分が垣間見える”実験室”を覗いていきませんか？

Music Podcasts / Page 1645