New 10 Song LP finished.

[guitar zero]

Hi! I loved your songs. All of them are amazingly good and catchy. Just the way I like them. What I noticed is that your songs lack explosion. I`m guessing you did that on purpose, right? In most cases, that explosion can be the difference between a nice song and a hit. Here and there, I get the impression that the songs are a bit too laid back to become hits. This album is a must have. Let us know when it`s ready!

Head up America can become a hit! Easily. It doesn`t even need the explosion I was talking about. I`d love to buy your CD. It`s art. I think my music is not even half as good as yours! Well done, mate!
A.D.Ryan

Thanks for taking the time to listen. I know what you're talking about with the explosive edge that can put a song over the top. It's something we may learn how to weave in with more experience. We started recording 4 years ago with a laptop and a snowball USB mic and nothing more. We're just taking small steps and trying to improve.

 

[jeffmaher]

Ryan and Guitzero...

Here's a consideration. Say that our hero snags representation with a publisher...say someone who has connections to a major that, once having pitched a tune..or the entire project, discovers that they'll invest, provided that there's, say, more instrumentation...as in "America"....a little explosive tinge. The publisher writes an email to Zero and says, 'can you give me some C-4 on that one?'

Publisher wants to close the biggest deal for the most money...make the most of every opportunity. He's vested.

If there's anything that needs to be added [or subtracted], the market will direct the morphing. Zero can accept or decline.

The tunage in the later songs in the compilation are complete, ravingly good compositions. As they are, they can be used to demo to established artists looking for tunes to complete a project, as well as standing on their own. And I think Zero has a really good shot at grabbing a whopping license fee for 'first use' by a 'star'. He could make a nice living by writing, alone. [average $30,000.....$15,000 for the composer....and mechanicals and air play royalties]

Jack Johnson's releases are, often, lacking 'explosion' Some tunes are a little more pumped.

Mraz's hits are pumped to 'industry standard'. "I'm Yours", for example. But he tours with a djembe drummer who sings....plays the 'neat' versions.

Zero's tunes are going to be great, either way. And having some of those tunes, done sparingly, in the hands of a busy, savvy publisher, are a very good thing. They showcase the lyrical and compositional talent, and expand the opportunities to be had by being 'demo' standard. The strings and french horns can be added later!

The sparse work also declares that Zero can get up on a stage with a guitar and blow away an audience. Anyone looking to invest in him as a potential contender for 'pop world' will be impressed.

Of course, Zero will have to dye his greying hair and fit into leapord spandex pants.

Seriously, though, Zero, you're a little old to grab that...it's a young man's game.

But, y' never know!

Just complete the project, and get it out there. You're ready and able. You are your own 'label'. All that's left is a publisher with as much business talent as you have musical talent. You are gonna grab success. Not a doubt in my mind.

Remember: the hard part of getting a publishing deal is dropping the CD's in the mail.

A publisher who represents you will guide you through all the PRO stuff....and take care of a lot of dry legal and business stuff....wile you do what you do best.

It's always a possibility you'll get screwed....but not likely. A good publisher won't take a risk of stealing from an artist who can make him money for 20 or more years.

Don't be afraid.

Man...I'm so wishing I could write and record like you. Jeez!

BTW...I watched a couple movies this week. They were both loded to the gills with ditties such as you write and record. Yours are better than any I heard...especially lyrically. For those of us of somewhat advanced age, there's a nice niche to get involved in. Record stuff...put it in the mail...get checks back. No performance, travel, hassle: you can do it until your last breath. I hope you pursue a few publishers who specialize in major motion picture soundtrack.

 

[guitar zero]

Ryan and Guitzero...

Here's a consideration. Say that our hero snags representation with a publisher...say someone who has connections to a major that, once having pitched a tune..or the entire project, discovers that they'll invest, provided that there's, say, more instrumentation...as in "America"....a little explosive tinge. The publisher writes an email to Zero and says, 'can you give me some C-4 on that one?'

Publisher wants to close the biggest deal for the most money...make the most of every opportunity. He's vested.

If there's anything that needs to be added [or subtracted], the market will direct the morphing. Zero can accept or decline.

The tunage in the later songs in the compilation are complete, ravingly good compositions. As they are, they can be used to demo to established artists looking for tunes to complete a project, as well as standing on their own. And I think Zero has a really good shot at grabbing a whopping license fee for 'first use' by a 'star'. He could make a nice living by writing, alone. [average $30,000.....$15,000 for the composer....and mechanicals and air play royalties]

Jack Johnson's releases are, often, lacking 'explosion' Some tunes are a little more pumped.

Mraz's hits are pumped to 'industry standard'. "I'm Yours", for example. But he tours with a djembe drummer who sings....plays the 'neat' versions.

Zero's tunes are going to be great, either way. And having some of those tunes, done sparingly, in the hands of a busy, savvy publisher, are a very good thing. They showcase the lyrical and compositional talent, and expand the opportunities to be had by being 'demo' standard. The strings and french horns can be added later!

The sparse work also declares that Zero can get up on a stage with a guitar and blow away an audience. Anyone looking to invest in him as a potential contender for 'pop world' will be impressed.

Of course, Zero will have to dye his greying hair and fit into leapord spandex pants.

Seriously, though, Zero, you're a little old to grab that...it's a young man's game.

But, y' never know!

Just complete the project, and get it out there. You're ready and able. You are your own 'label'. All that's left is a publisher with as much business talent as you have musical talent. You are gonna grab success. Not a doubt in my mind.

Remember: the hard part of getting a publishing deal is dropping the CD's in the mail.

A publisher who represents you will guide you through all the PRO stuff....and take care of a lot of dry legal and business stuff....wile you do what you do best.

It's always a possibility you'll get screwed....but not likely. A good publisher won't take a risk of stealing from an artist who can make him money for 20 or more years.

Don't be afraid.

Man...I'm so wishing I could write and record like you. Jeez!

BTW...I watched a couple movies this week. They were both loded to the gills with ditties such as you write and record. Yours are better than any I heard...especially lyrically. For those of us of somewhat advanced age, there's a nice niche to get involved in. Record stuff...put it in the mail...get checks back. No performance, travel, hassle: you can do it until your last breath. I hope you pursue a few publishers who specialize in major motion picture soundtrack.

Jeff,

A couple of things to add. I hate to squash your vision of me wearing leopard skin tights but, it's not gonna happen. Second,my son is the artist, not me. He's 24, so he doesn't need tights.

He writes the lyrics and the music. He records the tracks. I mix them, and rarely add a supporting guitar or bass track when asked to do so. We support each other in a very cool way. He supplies my craving for good tracks to mix, and I supply him with good gear, and a chance to put out a good product that people can enjoy and/or identify with. I have felt for four or five years that this is what he should be doing, and we both love it. But truly he hates being in the studio. He loves performing on stage. That's all he wants to do. I had to work hard to convince him that he simply MUST put out a high quality CD before even thinking about hitting the road.

It will be interesting to see how it unfolds for him. Ironically, it will be a sad day for me if he does make it. He'll likely record in a professional studio and someone else will do the mixing. I guess I can go back to fishing at that point.

 

[jeffmaher]

Holy Carp! Your son's ticket is SO punched!!!

[I was wondering how you could sound 25 at 53!]

And the fact that he's 25 opens up a lot more possibilities. He is and attractive investment for a major to throw him out on the road and promote and distribute his music.

I've made a hobby of predicting success of budding new artists I hear on the radio. I've got a pretty good track record.

Your son is one of the best writers I've heard...right up there in the rarified air of people like Joni. He's young, sings great, performs superbly. He writes better that Mraz, James Morrison, Johnson...and performs on par or better than any of them. Not kidding.

I'm feeling in my bones that he's gonna be at that level, doing what they do, very soon.

And he can buy you a waterfront house with a dock and a boat...and some really nice fishin' gear....and a big-screen plasma TV to watch his appearance on the Grammies.

 

[A.D.Ryan]

I second that

I woke up this morning, and the first thing I did was....listen to Head up America. The Lyrics are also great. I also write songs, but compared to what your son does my songs are nothing.
I honestly envy and appreciate his talent at the same time. I wrote this song when I was 18. I dunno if experience can help you be a better song writer My songs didn`t get any better

https://www.youtube.com/watch?v=h-I2IUPGGQ4

 

[TexRoadkill]

Sounds great but why is it so loud if it's just the mixes? You might take off most of the mix compression/limiting and save some room for the ME to do his job.

 

[guitar zero]

I woke up this morning, and the first thing I did was....listen to Head up America. The Lyrics are also great. I also write songs, but compared to what your son does my songs are nothing.
I honestly envy and appreciate his talent at the same time. I wrote this song when I was 18. I dunno if experience can help you be a better song writer My songs didn`t get any better

https://www.youtube.com/watch?v=h-I2IUPGGQ4

Thanks for stopping by to take a listen. You are very kind. If that's your song on youtube, it's very good. I just can't understand what you're singing. Is that you singing. Vocals are very good.

 

[guitar zero]

Sounds great but why is it so loud if it's just the mixes? You might take off most of the mix compression/limiting and save some room for the ME to do his job.

We made it loud just by putting a limiter on the mix bus before printing, just to get an idea what it would sound like in the car, from a laptop, in a large room, on crappy boom boxes etc. Before sending it off, the limiter and all the extra gain will be removed. There is not much compression on the mixes at all. I think the ME will have plenty of room to work.

 

[WhiteStrat]

Zero--

I'm just gonna concur with Jeff on this one. This whole set is magical. I'm a believer with a strong distaste for all things Christian--inasmuch of most of American Christianity leaves me hungry for the real deal.

But these songs speak of and reflect the real deal. They're authentic and wonderfully written and performed. And don't sell yourself short. You did 'em right with your mixes.

I'd buy this and put it on my iPod and listen to it till I was singing along. And not because of the novelty of having shared a BBS with someone involved--but rather because it's just that good.

Congrats to you and your son. I know I'll be hearing more of him--and hopefully it's your handiwork making him sound so good!

Strat

 

[guitar zero]

Zero--

I'm just gonna concur with Jeff on this one. This whole set is magical. I'm a believer with a strong distaste for all things Christian--inasmuch of most of American Christianity leaves me hungry for the real deal.

But these songs speak of and reflect the real deal. They're authentic and wonderfully written and performed. And don't sell yourself short. You did 'em right with your mixes.

I'd buy this and put it on my iPod and listen to it till I was singing along. And not because of the novelty of having shared a BBS with someone involved--but rather because it's just that good.

Congrats to you and your son. I know I'll be hearing more of him--and hopefully it's your handiwork making him sound so good!

Strat

Bob, thanks man. These comments coming from you really make me swell up a little. I respect your opinion and abilities. Not to mention you were one of the guys who really helped me learn a lot a couple of years ago when I was just starting to do this kind of thing.

I seriously was about to start a thread called "Where's Strat". I haven't seen you around for awhile. It's good to hear from you. Hope all is well.

 

[WhiteStrat]

Bob, thanks man. These comments coming from you really make me swell up a little. I respect your opinion and abilities. Not to mention you were one of the guys who really helped me learn a lot a couple of years ago when I was just starting to do this kind of thing.

I seriously was about to start a thread called "Where's Strat". I haven't seen you around for awhile. It's good to hear from you. Hope all is well.

All is well. Just busy and tired. That's life sometimes though, huh? And it's good to hear from you as well. Especially with something like this project you've done. I'm beaming for you guys--I'm just blown away by this.

(I must admit, it makes me wanna get less busy and get back to tracking!)

 

[PoeticIntensity]

Uhh... Yeah. I could listen to this stuff all day. Please let us know when and where this music will be available for purchase. Count me in as a fan.

Incredible music. Love the simplicity. The lyrics need very, very little support. I'm in awe.

Please let me know where I can purchase this when it comes back from the mastering house.

Maybe I missed it, but what is the band's name?

 

[jeffmaher]

An article that came in my BMI Bulletin today....general, but maybe something real important to know??
Jeff

So you’ve written a great song, made a fabulous demo and now you’ll live happily ever after, right? Well, kind of. There’s no doubt that being a great songwriter and having beautifully recorded versions of your songs is an admirable goal in and of itself. However, if you’re interested in having your songs see the light of day, your work is really just beginning. While organizations like Tunecore do a beautiful job of helping you get your music out in the world, it’s still entirely up to you to make sure your songs get in the right music industry hands. Until the people who can actually do something with your song (i.e., record labels, producers, managers and publishers) have heard it, it might as well not exist. I know this sounds obvious but I think you’d be amazed at the number of songwriters out there who have great song demos that very few, if any, music business people have ever heard. Creating the music is one thing but getting your music out in the world requires an entirely different set of skills. The skills I’m going to focus on are networking, professionalism, persistence, persistence (yes, I know I wrote it twice), courtesy and patience.

Networking

Like any business, it’s not only what you know but also who you know that gets you ahead. What this means in the music world is getting yourself out there to open mics, writer’s nights and any industry events you can find. For those of you in music cities like New York, Nashville and Los Angeles, there is an almost endless stream of opportunities. For everyone else, you might have to look a little harder or travel from time to time to one of the cities I just mentioned. I think it’s a universal truth that this kind of stuff isn’t always that much fun but, especially when you’re starting out, it’s essential. Let’s put it this way: All things being equal, if you’ve met someone from a record label or publishing company in a social setting and assuming you’ve had a nice exchange, there’s a much greater likelihood that they’ll not only remember you when you call but will make more of an effort to help you out if they can. The point is that the more you’re out there, the more people you’ll meet and the greater the chance it will pay dividends down the road. I’d also recommend remembering a few basic social skills while you’re at it, like not immediately launching into your 10-minute, spoken-word bio. It’s a much better idea to find out a little something about the person you’re talking to by remembering to ask a few questions as well.

Professionalism

Did I mention we’re talking about the music business? This means it’s in your best interest to be professional about how you approach people in the industry. When reaching out to someone in the music industry, call or email first. Make this first contact short and to the point. In other words, let them know why you’re calling/emailing (e.g., to schedule a meeting, to see if they’re accepting CDs, to ask whether you can submit an mp3, etc.). This is not the time to have a long discussion. If you’ve been referred by someone they know (see “networking” above), mention this as well. Also, while it’s great to be excited and even confident about your material, it rarely pays to tell someone that you’ve got a “great” song or you’re an “amazing” songwriter. Let your music speak for itself. Once you’ve gotten approval to do so, then submit your song or bring it to the meeting. It really doesn’t make sense to send out CDs or mp3s without first getting approval, as they usually end up at the bottom of a pile or, even worse, the person who hasn’t asked for it considers it an intrusion. Don’t kill the messenger here; I’m simply saying that the odds are that if someone isn’t expecting your material, there’s a good chance it won’t get heard.

By the way, if you’ve never seen the office of an a&r rep or music publisher, I’m here to tell you that it’s wall-to-wall CDs. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of CDs in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it.

Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you’ve got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they’ve got a desk full of CDs to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?

Persistence

Let’s say you’re fortunate enough to reach someone by either phone or email and they’ve agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you’ve submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.

Courtesy

I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song isn’t listened to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.

Patience

Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you’re not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.

 

[jeffmaher]

Check you PM inbox, Zero

 

[guitar zero]

Uhh... Yeah. I could listen to this stuff all day. Please let us know when and where this music will be available for purchase. Count me in as a fan.

Incredible music. Love the simplicity. The lyrics need very, very little support. I'm in awe.

Please let me know where I can purchase this when it comes back from the mastering house.

Maybe I missed it, but what is the band's name?

Poetic, Thanks for coming by to listen. The band name is Project 4.

An article that came in my BMI Bulletin today....general, but maybe something real important to know??
Jeff

So you’ve written a great song, made a fabulous demo and now you’ll live happily ever after, right? Well, kind of. There’s no doubt that being a great songwriter and having beautifully recorded versions of your songs is an admirable goal in and of itself. However, if you’re interested in having your songs see the light of day, your work is really just beginning. While organizations like Tunecore do a beautiful job of helping you get your music out in the world, it’s still entirely up to you to make sure your songs get in the right music industry hands. Until the people who can actually do something with your song (i.e., record labels, producers, managers and publishers) have heard it, it might as well not exist. I know this sounds obvious but I think you’d be amazed at the number of songwriters out there who have great song demos that very few, if any, music business people have ever heard. Creating the music is one thing but getting your music out in the world requires an entirely different set of skills. The skills I’m going to focus on are networking, professionalism, persistence, persistence (yes, I know I wrote it twice), courtesy and patience.

Networking

Like any business, it’s not only what you know but also who you know that gets you ahead. What this means in the music world is getting yourself out there to open mics, writer’s nights and any industry events you can find. For those of you in music cities like New York, Nashville and Los Angeles, there is an almost endless stream of opportunities. For everyone else, you might have to look a little harder or travel from time to time to one of the cities I just mentioned. I think it’s a universal truth that this kind of stuff isn’t always that much fun but, especially when you’re starting out, it’s essential. Let’s put it this way: All things being equal, if you’ve met someone from a record label or publishing company in a social setting and assuming you’ve had a nice exchange, there’s a much greater likelihood that they’ll not only remember you when you call but will make more of an effort to help you out if they can. The point is that the more you’re out there, the more people you’ll meet and the greater the chance it will pay dividends down the road. I’d also recommend remembering a few basic social skills while you’re at it, like not immediately launching into your 10-minute, spoken-word bio. It’s a much better idea to find out a little something about the person you’re talking to by remembering to ask a few questions as well.

Professionalism

Did I mention we’re talking about the music business? This means it’s in your best interest to be professional about how you approach people in the industry. When reaching out to someone in the music industry, call or email first. Make this first contact short and to the point. In other words, let them know why you’re calling/emailing (e.g., to schedule a meeting, to see if they’re accepting CDs, to ask whether you can submit an mp3, etc.). This is not the time to have a long discussion. If you’ve been referred by someone they know (see “networking” above), mention this as well. Also, while it’s great to be excited and even confident about your material, it rarely pays to tell someone that you’ve got a “great” song or you’re an “amazing” songwriter. Let your music speak for itself. Once you’ve gotten approval to do so, then submit your song or bring it to the meeting. It really doesn’t make sense to send out CDs or mp3s without first getting approval, as they usually end up at the bottom of a pile or, even worse, the person who hasn’t asked for it considers it an intrusion. Don’t kill the messenger here; I’m simply saying that the odds are that if someone isn’t expecting your material, there’s a good chance it won’t get heard.

By the way, if you’ve never seen the office of an a&r rep or music publisher, I’m here to tell you that it’s wall-to-wall CDs. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of CDs in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it.

Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you’ve got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they’ve got a desk full of CDs to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?

Persistence

Let’s say you’re fortunate enough to reach someone by either phone or email and they’ve agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you’ve submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.

Courtesy

I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song isn’t listened to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.

Patience

Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you’re not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.

Jeff, this is great info. Thank you.

 

[jeffmaher]

Poetic, Thanks for coming by to listen. The band name is Project 4.

HA! The young feller got over 35,500 plays on his music on MySpace!!!

 

[heatmiser]

These are very smooth and complete sounding mixes. You have managed to get a really full and warm sound with not all that many elements. Impressive.

Not a christian here by any stretch, but the lyrics didn't strike me as overtly religious or anything. Certainly not to the point of being off-putting to the agnostic or atheist in me. Then again, I don't generally pay much attention to lyrical content anyway...

Your son's voice is captured so well here though. Just the right combo of clarity and warmth. Very pro sounding in that regard. Well done!

 

[guitar zero]

These are very smooth and complete sounding mixes. You have managed to get a really full and warm sound with not all that many elements. Impressive.

Not a christian here by any stretch, but the lyrics didn't strike me as overtly religious or anything. Certainly not to the point of being off-putting to the agnostic or atheist in me. Then again, I don't generally pay much attention to lyrical content anyway...

Your son's voice is captured so well here though. Just the right combo of clarity and warmth. Very pro sounding in that regard. Well done!

Thank You...

Mastering on Wed. This will be the first time I've actually been in a "real" studio. I can hardly wait.

 

[DiscoBBQ]

This is crazy good friend

 

[jeffmaher]

Curious to know how the engineer reacts to what he hears....share?