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You know I was listening to one of Armistice's songs in the clinic not long ago and I heard him do a Beyonce-part, and narcissistically thought "Hey, he's been listening to my stuff!" but soon realized it's statistically more likely he's actually listening to Beyonce.

I think that robotic pitch-shifted sound is a cool effect in itself though.

You should analyze Laurie Anderson's O Superman

Yeah, analog's a different mindset. I saw someone in another thread make the analogy of programming for a Commodore 64 vs a new PC.. considerations of efficiency and all that, and I started on 4-track cassette myself so I can appreciate it. But now, even if I have one voice doing something low...

Ya know I got me a whole big box of Pokemon lollipops in that van over there boy..

Sweet! I don't see any fat old men, just wall-to-wall kids.

Well, I double everything like Steen said.. also there's alot of call-and-response type stuff and, for lack of a better word, "operatic" parts that dovetail together. It's not like there's 20 tracks firing at once. Here, I did a quick and dirty screen shot: Everything on the screen is a vocal...

Of all instruments, the human voice is the most personal, so personal it's scary. With a guitar or drums, you can cop someone else's sound. You can dress your music up so as not to even sound like you. Stick your voice on the top and suddenly the disguise falls away- it's you, for better or...

Also, in terms of arrangement, nuances really bring something to life.. Like, in a 3 or 4 part close harmony, running one melody line where there's a little Beyonce-inflection on just one melodic part (and of course double it and make sure you nail the timing so that while one part is going...

Is there anything specific you were wondering? I do vocal arrangements the old fashioned way, one track at a time. I average 16-24 vocal tracks on a song, depending on what I'm trying to pull off. I stopped using pitch correction a couple years ago and now just re-track it (sometimes many many...

I do this more for the prestige.

Were the Grammys ever not about the most crassly commercial highest selling music acts? Serious question, I've never watched them.

Dirt Floor?

Damn, I think we were typing the same thing at the same time there.

EXACTLY how I feel. It's not necessarily just the recording values or "sound" of it, it's the attitude, sincerity, the arrangements, attention to songwriting, all the social forces that were at work. In many ways, it is that old world that I yearn for, that still lives in the music. A world...

I'm the exact same way, and I do think nostalgia plays a big part.

Find out about your R16's naming conventions. Chances are, when you changed the names of your keeper tracks, you turned them into gobbldygook that it can't see.

You know, there's nothing shameful about wanting your music to be heard. You (presumably) worked hard on it. I just think it's a little disingenuous, and ultimately harmful to your cause, to frame it with the whole "I don't wanna be a rock star, I just want a couple listens" thing that everyone...

How confident are you in your stuff? How widely do you want it listened to? How much is it worth to you? Pressing a physical product immediately sets you apart from about 40 gizillion internet bands. But if you're just looking for a couple opinions, mom and dad usually have a tough time saying no.

[Insert name of underrated famous multi-millionaire]