Share Your Music (it probably sucks but that’s not why we do it)

[Paul Wesley 3278]

G650 and jimmyjazz, have either of you tried this--

https://www.soundradix.com/products/auto-align/

Obviously, it's no substitute for 1) well-tuned kit, 2) drummer who can play, or 3) great-sounding room.  And it can't fix any of those three things.  But it gets your mics in phase really quickly (flipping the phase of a mic is to a phase alignment tool what a horse-and-buggy is to an F1 race car).

 

[jimmyjazz 45877]

I've never tried it.  I would ask if it is only limited to a pair of mics, and if so, how would one handle something like a drum kit with somewhere between 3 and a dozen mics?

I suppose one could pick a single mic as the "reference" and phase align every other mic to it, but that wouldn't likely address what then happens between random other pairs of mics.

 

EDIT:  this might have some utility:  say you have a simple 3 mic kit -- two overheads and one kick mic, maybe the Johns setup, maybe something else.  Phase align the two overheads to each other and then phase align that pair LOCKED to each other with the kick mic.  I don't know if the software can do that.

Edited July 26, 2022 by jimmyjazz

[Paul Wesley 3278]

I think there might be tools that analyze the whole kit (multiple signals), but that soundradix one just compares two mics and gives you the optimal alignment.  

You can go as crazy as you want with it.  You're probably at least going to align kick in and kick out, and then use the snare top as the reference for the rest of the kit.

snare bottom to snare top

ride overhead to snare top

hat overhead to snare top

then use the overheads as reference and align each tom to its closest overhead.  

Once the tool gives you the optimal alignment, you can leave it on the channel, or go ahead and process/print it with its new phase. 

That probably sounds like a lot of work, but once you've settled on which takes you're keeping as the drum track, you can phase align a song in 10 or 15 minutes, and likely save yourself WAY more time than that when you'd be trying to make the kit sound great.  It's a pretty cool tool.

[jimmyjazz 45877]

Cool.  Let's say we follow your process, and start by aligning the kick mics.  Then how do you slide (align) both of those to the snare top?

I guess you could align kick out to snare top and then kick in to kick out.  That inside kick signal is gonna have so much rejection of everything else it's not gonna matter much.  Probably true of most super close mics (toms, snare bottom).

I might try this thing on an existing recording I want to remix anyway.

Edited July 26, 2022 by jimmyjazz

[Paul Wesley 3278]

I align the kick mics to one another and that’s it - it seems to me that the snare and kick mics are all gonna be gated, so they’re rarely triggering at the same instant.  And the overheads and rooms are likely going to have some/all of the low end rolled off. 
 

I don’t bother with aligning room mics either.  
 

Of course, I’m a hack and not a mix engineer.  
 

I’d be curious to hear your opinion if you try it. 

Edited July 26, 2022 by Paul Wesley

[jimmyjazz 45877]

Well, I am SO not a mix engineer.  It is a mystery to me.  I feel very comfortable -- relatively speaking -- tracking a session, but after that the trepidation sets in.

[jimmyjazz 45877]

14 minutes ago, Paul Wesley said:

I align the kick mics to one another and that’s it - it seems to me that the snare and kick mics are all gonna be gated, so they’re rarely triggering at the same instant.

Ah, I get that.  For rock 'n roll, probably.  For disco/dance, that kick could be 1-2-3-4 and competing with the snare half the time.  Beyond that, I've never been a big gate guy.  Guess I should try it.

 

Quote

And the overheads and rooms are likely going to have some/all of the low end rolled off. 

OK, this is timely.  I just got some tracks from a drummer who had overheads and room mics (in pairs) along with a bunch of close mics.  Because the close mics sounded good to me -- understand I almost never use close mics, and it was at your studio that I realized they could actually sound good -- I thought to myself "why am I not using the far mics (overheads and room) for mostly 1 kHz and above, and let the beef come from the close mics?

You just validated that theory.

[Paul Wesley 3278]

The fab filter gates are f*cking fantastic (everything they make is arguably best-in-class).  
 

I think Eric Valentine gets incredibly energetic drum sounds, and he’s 100% transparent about what he does.  It’s been a couple years since I watched this one, but it’s really interesting.  Try the demo versions of the fab filter gate and the sound radix phase tool and see what you think  

 

 

 

[G650 14229]

22 hours ago, Paul Wesley said:

G650 and jimmyjazz, have either of you tried this--

https://www.soundradix.com/products/auto-align/

Obviously, it's no substitute for 1) well-tuned kit, 2) drummer who can play, or 3) great-sounding room.  And it can't fix any of those three things.  But it gets your mics in phase really quickly (flipping the phase of a mic is to a phase alignment tool what a horse-and-buggy is to an F1 race car).

 

Yeah that is a good tool for sure. There's a few others as well, some that work across the kit.

 

One thing I try to do, which is a very 70s old school thing, is try to get it as good upfront as possible and keep any back end work to a minimum. It's definitely not in vogue anymore, and you can't always do it, but if you have the time I truly believe it's the best option if you want a good natural sound. I am not a fan of modern drum sounds at all, everything is triggered and replaced etc.. But if you ask me, the drums on say Honky Chateau are the pinnacle of the rock sound. The kick drum on the Pretenders Back on the Chain Gang is maybe the best kick sound ever.

[jimmyjazz 45877]

7 minutes ago, G650 said:

But if you ask me, the drums on say Honky Chateau are the pinnacle of the rock sound.

The high end is super clean and prevalent.  I think it helps that the snare isn't being hit within an inch of it's life -- it's more of an orchestral approach to hitting the drum.

 

Quote

The kick drum on the Pretenders Back on the Chain Gang is maybe the best kick sound ever.

Never thought about that track, went back and checked, yes the kick sits real nice in the mix.  My nomination would be the kick on "Honky Tonk Women".  Very fat, very natural, noticeable reverb.  I know for a fact that at least one prominent Motown engineer used that as his main reference in the 1970s. 

[G650 14229]

8 minutes ago, jimmyjazz said:

My nomination would be the kick on "Honky Tonk Women".  Very fat, very natural, noticeable reverb. 

Strong to very strong submission as well.

 

ETA: Probably even more than Honky Chateau, by the time they got to Goodbye Yellowbrick Road it was flat out amazing. Specifically the toms on Candle in the Wind were just ridiculous.

Edited July 27, 2022 by G650

[sidis 9821]

so there are software companies that team up with production companies to hold scoring competitions as a marketing ploy.  i have done a few of them before including the same company's competition for scoring a westworld scene which i was pretty happy with.  see below.  everyone starts with the same clip with no sound but the dialogue and any fx (footsteps/horses/etc...).  this year's competition is a scene from the netflix show bridgerton.

https://www.spitfireaudio.com/bridgerton/

so i've developed two different sketch level ideas so far.  first is traditional scoring for something like this...second is a more humorous effort.  almost a stranger things score for bridgerton.  so before i start putting more work into refining them, vote for which one you would submit.  first one is a little bit further along and there is some actual composition and orchestral work but neither are near completion.  second one is all synths and is still super crude on transitions, mixing, etc...  which one would you work up to refine and submit?

 

 

 

 

and here is the westworld entry from a few years back.  it did not place.

 

 

[Goredho 17394]

45 minutes ago, sidis said:

so there are software companies that team up with production companies to hold scoring competitions as a marketing ploy.  i have done a few of them before including the same company's competition for scoring a westworld scene which i was pretty happy with.  see below.  everyone starts with the same clip with no sound but the dialogue and any fx (footsteps/horses/etc...).  this year's competition is a scene from the netflix show bridgerton.

https://www.spitfireaudio.com/bridgerton/

so i've developed two different sketch level ideas so far.  first is traditional scoring for something like this...second is a more humorous effort.  almost a stranger things score for bridgerton.  so before i start putting more work into refining them, vote for which one you would submit.  first one is a little bit further along and there is some actual composition and orchestral work but neither are near completion.  second one is all synths and is still super crude on transitions, mixing, etc...  which one would you work up to refine and submit?

 

Bridgerton_S1_Eps_5_KrisBowers_Score_Clip_w_MT_Competition.mov 83.27 MB · 0 downloads  

 

 

Bridgerton_S1_Eps_5_KrisBowers_Score_Clip_w_MT_Competition-ALT.mov 83.25 MB · 0 downloads  

 

and here is the westworld entry from a few years back.  it did not place.

 

Westworld_305_Clip_Final.mov 71.72 MB · 0 downloads  

 

Good on you for continuing to be persistent with this.  You are going to eventually arrive at the right music for your audience of judges.  I really like both pieces, but since you want some feedback as to which you might go with, I'll offer this...

I don't know much about Bridgerton, but that clip makes it looks like a period piece where there is a significant investment in costume, sets, etc... to establish the time and place.  So unless it's something like "A Knights Tale", I would think they are probably going to want traditional period music that strongly contributes to that sense of time and place.  So with that in mind, I think your first option would be the most well received.

A few thoughts and a couple things I would consider if it were me:

• The volume of the scoring seems a little loud for the dialog, at least I had difficulty picking out what they were saying over the accompaniment.  That may be by design and perfect for a competition to choose the scoring, but if they want it to be more like what you would hear in a normal TV viewing experience, I think it needs to come down a bit
• There are two points of visible internal conflict for our bride to be, the first around 0:07 and the second around 1:14.  I think your music has too much drama in the first instance and not enough in the 2nd.  I would make the the first instance to be more subtle in its foreshadowing, then in the 2nd instance I would make it a bit more forward and overt.  Start out less dramatic, but ramp it up a little as we see more that our bride-to-be may not be so in love after all.
• I really like the prancing melodies when they are walking down the grand hall with the dogs and when the girls are coming down the stairs and engaging in repartee.  I think both really contribute to the sense of extravagant Georgian/Victorian grandeur that the set and costumes are working hard to establish.

Edited August 8, 2022 by Goredho

[sidis 9821]

23 minutes ago, Goredho said:

I don't know much about Bridgerton, but that clip makes it looks like a period piece where there is a significant investment in costume, sets, etc... to establish the time and place.  So unless it's something like "A Knights Tale", I would think they are probably going to want traditional period music that strongly contributes to that sense of time and place.  So with that in mind, I think your first option would be the most well received.

A few thoughts and a couple things I would consider if it were me:

• The volume of the scoring seems a little loud for the dialog, at least I had difficulty picking out what they were saying over the accompaniment.  That may be by design and perfect for a competition to choose the scoring, but if they want it to be more like what you would hear in a normal TV viewing experience, I think it needs to come down a bit
• There are two points of visible internal conflict for our bride to be, the first around 0:07 and the second around 1:14.  I think your music has too much drama in the first instance and not enough in the 2nd.  I would make the the first instance to be more subtle in its foreshadowing, then in the 2nd instance I would make it a bit more forward and overt.  Start out less dramatic, but ramp it up a little as we see more that our bride-to-be may not be so in love after all.
• I really like the prancing melodies when they are walking down the grand hall with the dogs and when the girls are coming down the stairs and engaging in repartee.  I think both really contributes to the sense of extravagant Georgian/Victorian grandeur that the set and costumes are working hard to establish.

thanks, goredho.  notch one vote for the former.

the show is definitely a "period piece" but with a lot of nods/winks and contemporary takes - racial, sexual, etc...  the scoring i can recall (have purposefully not gone back to watch anything specific to avoid any influence) is very much what you would expect...baroque string quartet sounds.  but, kind of like westworld, they like throwing in re-arranged modern popular music and performed in that style to mix it up and draw the audience in a bit more.

on your feedback...yeah, i haven't mixed/mastered it yet.  just a little volume control on the tracks.  part of the refinement will be subtle adjustments in dynamics and volume where it overrides or clashes with the dialogue which has to very much stay at the forefront.  on the conflict, i wanted high drama in the first to contrast with the highly harmonic chord drone for the title card and having watched the show, i know there is a lot of tension leading up to that moment.  the second one appears to be conflict but it's more of an excitement/anticipation.  but i do think a more foreboding chord coming in there at the end where her face turns might be a good addition.  i am happy with the ending string quartet sound for the final segment but when i watch it, it seems to come completely out of nowhere to my ear.  like it is forced in there.  as i refine, i will probably try and introduce the spiccato strings very subtly as a quiet, secondary voice to go behind the pizzicato strings when the queen is reading the pamphlet earlier in the clip.  that way, when they are the primary voice at the end, it isn't completely out of left field.

thanks again.

that said, it is funny that you mention anticipating that the judges will want something that would likely fit in the show.  the westworld judges went in a completely different direction.  there were over 11,000 entries in that one and a bunch of people posted ones like mine...composing something that traditionally "fit" the scene.  the judges caused quite the dramatic reaction of pissed off people (lots did not share my enjoyment of the project as a chance to just learn and have fun but instead wanted to advance a career effort) when they announced this 8 bit chiptune track as the winner.

 

Edited August 8, 2022 by sidis

[Goredho 17394]

Lol @ what won the Westworld competition.  That's kind of my point about the persistence, there is only so much calculated guessing you can do about what is going to appeal to the judges and ultimately win.  That doesn't mean all the other 11,000 entries sucked, just that this one clicked for the judges for this scene for whatever reason.

[Chips O'Toole 1322]

I'll listen in tomorrow. I saw the first season of Bridgerton, there were multiple sequences that featured pieces that were just pop songs arranged for chamber strings (not positive on that term, felt right tho). I might try something myself if I have any free time. 

[Goredho 17394]

A middle eastern influenced piece I have started working on that is in a drop-D tuning.  I am still getting comfortable with Byzantine and Phrygian dominant scales, so I don't play the melodies particularly well yet.  I also have never been into the finger tapping thing, but I really like the way it works for the melodic line around the 3:50 mark.  So I am going to try to get better at all that before I record this.  I don't know if I am going to keep it mostly like this (kind of an extended heavy raga) or use it as a component of some larger but more varied epic piece.
 

 

Edited August 23, 2022 by Goredho

[Goredho 17394]

I am not sure where to put this, so I'll put it here since this thread touches on hobby/home recording a lot.

IK Multimedia is about to come out with a new AI-powered product in September called "ToneX".  Basically, you can send a reference signal through any amp/cab, capture it to train a neural network machine learning model and that is used to produce a "very realistic" model of the amp that can be applied to any guitar signal either with the standalone software (live play) or as a VST plugin in a DAW like Logic or whatever.  Take a look/listen to the clips below.  The models sound really good to my ears, at least on youtube audio quality.

Of course, this is all just marketing hype at the moment, but there will be a free edition that will allow try before you buy.  There will also be a sharing platform allowing people who just want to use existing captures to download them from those that produce them.  More details on the IK multimedia website.

 

 

 

[jimmyjazz 45877]

That technology already exists.  My partner in crime uses it often to get the tone of his Marshall JCM800 on "tape" without waking the neighbors.  He sampled his amp, and honestly, I can't tell the difference in a mix.  I'll ask what software he used.

Mathematically, it's a "convolution" process, the same as used in convolution reverbs, which I use all the time.  I can put a player in Abbey Road, Sun Studios, Power Station, a catheral, etc. and it's essentially indistinguishable from the real thing, just without the travel and rental costs.

Edited August 29, 2022 by jimmyjazz

[Goredho 17394]

11 minutes ago, jimmyjazz said:

That technology already exists.  My partner in crime uses it often to get the tone of his Marshall JCM800 on "tape" without waking the neighbors.  He sampled his amp, and honestly, I can't tell the difference in a mix.  I'll ask what software he used.

Cool, I will be interested in hearing what he uses.  I know the Kemper and Quad Cortex do something similar in terms of capturing the sound of a reference amp, but I believe this is the first commercial application of using AI/neural networks for the job which has a lot more potential for accuracy than what these pre-existing techs have been producing (whether or not this makes use of that potential, I dunno).  Ultimately the sound is all that matters, though.  How you get there is kind of irrelevant.  If other tools are getting it right, that's all that matters.  And there is no guarantee this product is going to capitalize on the potential of AI/machine learning/neural networks to get to that next level of realism.

The buy in for a Kemper and quad cortex are > $1000, where this is on the order of hundreds (I think $99 for the cheapest offering).  But they are hardware units with dedicated CPUs and such whereas this is strictly software to be run on a computer, tablet or phone.

Edited August 29, 2022 by Goredho

[G650 14229]

13 minutes ago, jimmyjazz said:

without waking the neighbors

Well what the fuck is the point then if you don't wake the neighbors.

[Goredho 17394]

2 minutes ago, G650 said:

Well what the fuck is the point then if you don't wake the neighbors.

If you assault their senses strongly enough, they will eventually quit objecting?

[G650 14229]

Just now, Goredho said:

If you assault their senses strongly enough, they will eventually quit objecting?

The beating will continue until morale improves something something...

[Chips O'Toole 1322]

22 hours ago, jimmyjazz said:

That technology already exists.  My partner in crime uses it often to get the tone of his Marshall JCM800 on "tape" without waking the neighbors.  He sampled his amp, and honestly, I can't tell the difference in a mix.  I'll ask what software he used.

Mathematically, it's a "convolution" process, the same as used in convolution reverbs, which I use all the time.  I can put a player in Abbey Road, Sun Studios, Power Station, a catheral, etc. and it's essentially indistinguishable from the real thing, just without the travel and rental costs.

It's a different technology than convolution which has been around for decades now.  I haven't read much about this yet, but I have been looking into some of the machine learning projects out there for music, and it's going to be fucking wild in a few years.  From looking at IK's stuff, the main difference is it can take a wet and dry signal of the instrument and learn the sonic profile of the amp or whatever, and model it without playing all the test tones involved with creating an IR.  That's very useful and much more convenient, although I would guess it may not be as accurate as IR for a while.  It may even suck right now, but it will probably be awesome eventually.

[jimmyjazz 45877]

2 minutes ago, Chips O'Toole said:

It's a different technology than convolution which has been around for decades now.  I haven't read much about this yet, but I have been looking into some of the machine learning projects out there for music, and it's going to be fucking wild in a few years.  From looking at IK's stuff, the main difference is it can take a wet and dry signal of the instrument and learn the sonic profile of the amp or whatever, and model it without playing all the test tones involved with creating an IR.  That's very useful and much more convenient, although I would guess it may not be as accurate as IR for a while.  It may even suck right now, but it will probably be awesome eventually.

At a bare minimum, I would think it would take a frequency sweep, or some sort of full spectrum noise input (white, pink, etc.) just to "learn the difference" between the wet and dry signals.  However they get there, it's gonna crush modeling amp technology in short order.

[Goredho 17394]

I have built AI/machine learning systems in my day job.  Not anything related to digital signal processing, but instead in shipping and logistics.  Given a historical set of orders (products, quantities, destinations) and how they were shipped (box, carrier, service), predict how a new order would be shipped so a human does not have to be involved.  You just need a human (or a robot) to physically pick and pack the goods and slap the label on the box.  Its pretty amazing at how fast and accurate AI/ML powered systems can be.

How this will work for digital signal processing is something like this.  Lets say you are the signal processor, and you have matrix-like super powers to operate at super human speeds.  Now for every nearly instantaneous moment in what the rest of us perceive as a single note, you are working your ass off.  You look at the instantaneous moment of signal and are like, "Ok, the note was plucked this hard, and we are at this point in the length of the note, and there is some palm muting involved, etc... Now let me go into my vault of signal processings that makes up this trained AI model of a 1950-whatever Fender Bassman and find the one processing that is most appropriate to apply to this moment of sound."  You are doing that thousands of times a second, so fast that we perceive only an uninterrupted modified signal that sounds like your guitar was plugged into that old-ass Fender Bassman.

It's that instantaneous decision making of what processing to apply to the signal given its characteristics at a moment in time that is the secret sauce.  This isn't just a diff between a reference signal and how it was modified when played through an amp with averaging and easing in play to get pretty close.  This has the potential to be the most accurate digital recreation of analog amps to date.

Or it may suck, you can make shitty ML systems just like you can make any software shitty.  But whoever gets this right will set a new bar for accuracy in digital amp emulation. We'll see in September if IK Multimedia are the ones to pull it off.

[G650 14229]

My hats off to the guys working on this stuff as it's a wildly complex set of interactions.

[Goredho 17394]

Related to my previous posts about IK Multimedia's new "Tonex".  Their ToneNet is up now and you can listen to clips of all the different captured models that will come stock.  I have not had a chance to listen, but early posts sound like people are pleased with what they hear.

https://www.tone.net/tonex

 

Edited September 7, 2022 by Goredho

[Goredho 17394]

I've got a lot of little half songs floating around as I am putting together my modeling rig for recording.  I've got the power amp and cabs in, AxeFX3 arrives next week. To make sure the amp and cabs work, I downloaded a free trial of a Tone King Imperial plugin from Neural DSP.  This is easily the best modeling experience I've had in terms of a rig sounding and feeling like a real valve amp.  This is one of those half songs played through all that.  I just recorded it with my computer mic, so I don't know if the quality of this plugin and rendering through the amp/cabs will come across in this video, but I am pretty excited at how this rig is coming together sound-wise.
 

 

[Goredho 17394]

So @sidis gave me a gentle nudge to return to the big epic concept piece I had started like 18 months ago and that we had been collaborating on.  Now we are getting close to a finish of the 5th and final part -- The Fall.  This is the denouement of the whole and attempts to capture the downfall of America if cooler heads don't prevail in our current political climate.  Of all the pieces Sidis and I worked on for this concept piece, this is probably the most collaborative.  The others, I might have taken the lead, or he might have.  But with this, we worked with ideas in a more raw form and have had a lot of back and forth over the last month getting it to its current state.  It's got flavors of ambient, rock, orchestral, industrial, metal, djent and middle eastern music in it.

I don't know that it is finished.  I originally had an idea of a dueling guitar solo during the orchestral part between 1:48 and 2:17, but I am starting to think that's going to be too much guitar wailing for guitar wailing's sake and detract from the whole.  I need to marinate on it some.  Any feedback is welcome.

 

 

Edited November 4, 2022 by Goredho

[sidis 9821]

if @jimmyjazz and @G650 in particular don't show some love out for that smoooooth transition from 8/8 to 4/4 to 11/8 time right in the middle of the metal, i'm going to be pissed.

[Goredho 17394]

2 minutes ago, sidis said:

if @jimmyjazz and @G650 in particular don't show some love out for that smoooooth transition from 8/8 to 4/4 to 11/8 time right in the middle of the metal, i'm going to be pissed.

Soundcloud doesn't know what to do with this music.  For the 5 iterations I've shared with you, I've had the following tags suggested (3 suggested for each iteration) : #Rock, #Alternative Rock, #Progressive Rock, #Instrumental, #Metal, #Ambient, #Orchestral, #SoundTrack, #World Music, #Arabic, #Epic and my two favorites:  #KrautRock and #Shoegaze.

 

[G650 14229]

[Goredho 17394]

3 minutes ago, G650 said:

Holy shit, that's like in time

[G650 14229]

1 minute ago, Goredho said:

Holy shit, that's like in time

Dr Teeth and the Electric Mayhem know what's up.

[jimmyjazz 45877]

1 hour ago, sidis said:

if @jimmyjazz and @G650 in particular don't show some love out for that smoooooth transition from 8/8 to 4/4 to 11/8 time right in the middle of the metal, i'm going to be pissed.

Ha!  Right before the lead?  I'm not sure I felt the 8/8 to 4/4 (my meager brain sees them as being the same), but it's mighty cool after that.

[Goredho 17394]

32 minutes ago, jimmyjazz said:

Ha!  Right before the lead?  I'm not sure I felt the 8/8 to 4/4 (my meager brain sees them as being the same), but it's mighty cool after that.

Yeah, they are essentially the same.  4 quarter notes and 8 eighth notes.  Pulse and bar length are equivalent.  11/8 is where things get different.  Pulse is the same, but each bar is 11 eighth notes.

[G650 14229]

I was told there would be no math

[jimmyjazz 45877]

Yeah, I understand the theory, although it's pretty subtle in your instance (4/4 vs 8/8).  To me, 3/4 and 6/8 are more differentiated from each other, given the difference in where the accents are usually placed.

[Goredho 17394]

Yeah, I was agreeing with your assessment.

[Celery Man 20929]

6/8 is 2/4 in triplets

[jimmyjazz 45877]

True.  Weird way to write it, though.

[Jiggy-Z 3432]

Also posted in the rap thread.

A song my oldest son wrote with JSWISS on the rap lyrics performed by JSWISS, my son, and a handful of bad ass New Orleans musicians.

Just dropped on Saturday in the usual places.  Ithin kit is pretty damn good.

 

[G650 14229]

Good shit Jiggy

[Celery Man 20929]

 

my buddy just sent me this - vinyl pressing for the near ten year anniversary of the last album I both wrote and recorded on. I have the vinyl for the next album (honestly never even really listened to it) but it’s not the same. Apparently it was remixed, so I’ll have to get a turntable. 

[G650 14229]

You are a legend, sir.

[Celery Man 20929]

[freyguy 4259]

My son's band just dropped their very first single on Spotify today.  All 4 of them are seniors at Bowie who all met randomly & formed last April.  My boy plays the guitar on this one (both parts).  He wrote & composed it with the singer/bass guitarist.

These kids are simply having so much fun right now.  But they're also learning alot about studio work, hiring a producer, etc.

https://open.spotify.com/track/7BrpjgOWnxPd7fXAau58w9?si=DuLZRv_BRFis2M3iBhmv0Q&utm_source=copy-link

They have about 7 or 8 additional songs they're working on, and plan to eventually release a full album.  I'll come back and post when it comes to fruition.

[G650 14229]

This is so rad man. Love it

[Goredho 17394]

56 minutes ago, freyguy said:

My son's band just dropped their very first single on Spotify today.  All 4 of them are seniors at Bowie who all met randomly & formed last April.  My boy plays the guitar on this one (both parts).  He wrote & composed it with the singer/bass guitarist.

These kids are simply having so much fun right now.  But they're also learning alot about studio work, hiring a producer, etc.

https://open.spotify.com/track/7BrpjgOWnxPd7fXAau58w9?si=DuLZRv_BRFis2M3iBhmv0Q&utm_source=copy-link

They have about 7 or 8 additional songs they're working on, and plan to eventually release a full album.  I'll come back and post when it comes to fruition.

Very cool!  Please do return.