Theheadroomphiladelphia.com Website Review

What I really appreciate about both of these songs is their vocal performances. They both have different styles, but the thing that ties them together is that these two singers (Missy and Matty) both put a lot of effort into their delivery. Each of their many takes were pretty unique in melody, inflection, and dynamics. Not that they did something wildly different each time, but there was always some fresh variation, and the sum total of all of those moments delivered really compelling vocal takes that tell a story in of themselves. For Missy’s vocals we used the Wunder CM7 to get the bright air-iness of her performances, and for Matty we used the AEA R44 to get a darker The one thing that Matty said as we were getting ready to work together was that he wanted some direction as far as his guitar solo young kid I loved Ozzy Osbourne and Randy Rhodes, and whenever “Crazy Train” comes on in the supermarket or whatever, the solo reminds me of reading Guitar Player magazine in 7th grade, but thats about it. When I hear a band where the guitar player unleashes a cacaphony of noisey finger acrobatics, or a string of cliche blues licks, I’m just immediately turned off. When someone suggests “what about a guitar solo” to fill a gap in a song or arrangement , my response is usually lukewarm; it really just depends on the solo. Definitely a little “Dad Rock” I know, but c’mon, they’re clas*ics! What I think both of these solos exemplify are theme and variation, lyrical phrasing with an “off the cuff” spontaneous feel, emotional performaces, and organized in the sense that there is a Beginning, Middle, and End. I had a bas* teacher who was an incredible jazz player who said he thought of solos like public speaking  in that your solo must be organized in such a way that your audience pays attention and that you’re not droning on and on. So how does this translate into capturing a guitar solo as opposed to regular rhythm tracking? With rhythm guitars, I’m always looking