PhonoBrainer

Fantastic presentation! The video watching everyone's tasteful contributions, just so classy to watch your production and how you went about it. You guys all overflow with chops. Keep doing these! And the multicamera treatment was really a treat. All the more so, because I'll confess that I've never been a huge fan of the compositional stylings of Santana. So holding my interest was not about the song at all, for me - it was about the way you talented guys presented the song. Very well done! Cheers, -Tom

Well there's a newer one "Class A" . . . any opinions on this one?

You have a lot of fans on this one, and me too! I think it might be you are featuring guitars a bit more? That voice really suits your angular compositional style. Angular as in, unconventional and pleasant. Where everyone else is playing with the usual building blocks, you have triangles large and small. As you can see, I'm unqualified to render a decent critique, that's how good and unique your stuff is. Cheers, -Tom

Did you just use the term "nary" ? Could that be a problem??? ? Meanwhile, me too, 2 dongles across 15 years, no big deal, even the time their system took a dump and screwed the entire world for three days or summat.

Chris, thank you so much! But alas I have done that already. The IK amplitude plug is the only plugin I own that will not respond to midi. It might be a quirk in my system. I've reinstalled everything. I believe I'm not the only one with this issue. I never rule out "operator error" . . . ?

To get this product to receive a midi signal to control rotor speed has been a source of continual epic failure for me. Even after two go-rounds with tech support, years apart, and having digested everything available online, still can't control rotor speed. So if you do buy it, please let a brother know!

Keys work, percussion is just a smidge too hot, lead guitar tone is a bit thin. However, friggin great groove, some very worth improv, and probably needs a "B" section at least. I think you have the embryo all figured out - keep working and adding, this groove it totally worth it!!! And most importantly: where is the smooth, tastefully percolating bass guitar??? An absolute must for this!!! I really liked it. cheers, -Tom

Whatever you have going for a bass really grooves this tune, and your singing is super authentic and conveys the emotions. I got a heavy Bruce Cockburn/John Prine vibe and I love that! cheers, -Tom

I always believed Ric Dees nuts.

Damn you went all out!!! Eggs are so expensive these days.

This seemed the obligatory next post . . .

You've seen through the matrix

Yessss, I finally get a listen. Very up, this one, and count me in for a "What We Do In The Shadows" fan club membership! So I loved it, and everyone else offers kudos, well deserved, your mixing standard is super high and this is no exception, but I wonder is a slightly less "papery" snare might suit as well, something with a bit more midrange snap to it . . . and 100% if you think about bringing the horn section up a tad I'd say go with that thought! Back for another ear helping - great tune! cheers, -Tom

Also I bet Tom Petty would have loved your song, or Smashmouth - it's a really good song when I can hear it being performed in my mind's ear by various artists.

Toes tappin. Your song has two parts and they are both brilliant. Kudos on the punchy yet controlled drums, any tips? That was really great. And your vocal was awesome as well, great voice, man! cheers, -Tom

Well first off this has a songwriter's signature that I don't remember hearing before. It's super original, which is always good. Mix wise I liked it best when the vocals were doubled! On the single lead vocals, sometimes I couldn't make out the words, which is not a deal breaker exactly - but you might bring the single vocal up just a smidge, or better yet seek out the snare hit that inevitiably masks certain words in spots, and drop the snare out of the way a bit just for that conflicting moment. Or just go with what you got 'cause it's pretty good as is, really. cheers, -Tom

Waiting for the sequel "Frank E. Zoid"

Heeee's baaaa-aaack! Thanks Larry!

If you had your mask on, they would have fogged and you would have found them. Some conspiracies have benefits.

Cardiac Bypass Journey? Here's the more funnerest question - how many of you didn't notice the dancing bear?

I like those bass slides very much, and the Beatles come to mind with a certain Silver Hammer quality. I was still humming it an hour after I heard it. What does that tell you??? well done gents! -Tom

This must be how all the elves in Santa's Workshop crank out zillions of presents each year - they listen to this while popping diet pills with lots of caffeine. Oh, by the way, that's what your song brought to mind. Is that what you intended??? nice one, fun synth! cheers, -Tom

I think I heard mix #2? I'd say get some more low mids into the bass? Or overall, bass volume up even more? I love an out front vocal and your is a treat, particularly when its doubled in the chorus, or with the bgv's. But to help the overall balance, maybe drop the lead vocal volume just a hair? You have an acoustic stumming along and some of the highs on that are very bright indeed, super bright steel strings jumping out in spots, if this were mine I would drop the upper shelf down a bit . . . You've made some cool, laid-back choices for this, nice job! cheers, -Tom

It's a very good composition, I would have remarked that it's themes have a kind of stately, formal, reverent quality . . . but knowing that you wrote it in honor of your father, that totally makes sense. Well done. Mixwise, you might look at the snare tippy taps, it's a great part for this song! but are mixed too low? they should come up about 2 db and join the party! Overall mix seems a bit tilted towards the low end. Occasional strings up top but I think the whole mix could be brightened. One trouble spot down low might be the deeper bass noted of piano (which I like) but you might sacrifice some low or low mids from the piano, to achieve a better clarity overall. Lastly, I'd call out the piano itself. What did you use? And in the mix, it seems the reverb or decay on that piano is a lot shorter than the other instruments in the room? If you are envisioning the piece as something live on an entire soundstage, you might lengthen the decay of the piano somehow. If that doesn't matter, then all is good. Kudos on a great, respectful, thoughtful piece of music! cheers, -Tom

I'm sitting upon a Newegg rant, depending on how I'm treated in the next couple of days. Whoever hatched their return policies might be looking at me going Full Karen.