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“It’s really a great time for musicians in their homes, capturing that moment. ‘Demo’ is really not in our vocabulary any more. You just record, and we use what fits. The sketchpad now is more a mental place. That’s a great new era.”- Chris DeGarmo of Queensr˙che

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Current Tape Reviews

 
Artist Name:
Kim York
  Title:
Bob Dylan Blues
 
Date Posted:
February 2008
 
Genre:
Folk
Equipment Used:

Dell XPS-400 with M-Audio Delta 1010LT sound card running Cakewalk Guitar Tracks Pro 3.0; BBE 482i Sonic Maximizer, Aphex Aural Exciter Type C3, dbx 266, Alesis MIDIverb III, Korg A5, Roland GR-33, ART Tube MP, Multivox Full Rotor; MXL2001 and Electro-Voice 757 mics; Optimus Pro 77 speakers with 12” Optimus subwoofer; 1967 Fender Tele, 1996 Fender Strat, 1973 Rickenbacker bass, 2006 Epiphone Dot, 1974 Fender acoustic/electric flat top; Casio CZ-1000, E-mu PROformance Plus, and Miracle keys; Leaf Drums 2.0 and Roland TR-707 drums.

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Production Notes & Credits:

"Bob Dylan Blues" is a male vocal folk rock song. Kim did it all at his home studio.

Reviewed By: Marty Peters
Rating: 0
Recording: This bouncy tune comes to us from Kim York, a "sixty three year old musician, recently retired and getting back into the recording game as a one-man band". So how does the recording measure up? Pretty well, for the most part.

Kim is certainly no stranger to the sounds of classic Dylan. By this we mean the "Like A Rolling Stone" era. The song intros with a keyboard playing the part that would have been Dylan's harmonica, along with an organ that emulates what Al Kooper would have laid down back in the day. Obviously this was a tip of the hat, and although the sounds are nothing stellar, they set up a framework for the rest of the song. As for the remaining pieces and part of Kim's arrangement, he has done a fine job with his drum programming and the staccato electric guitar part. We were also impressed with the reverb that he chose for his snare drum during the bridge sections. It really opens the tune up nicely and provides a timely counterpoint to an otherwise dry track.

Less to our liking was the electric bass. While we applaud the performance, the bass, with its lack of sustain, sounds keyboard-generated and nothing like the 1973 Rickenbacker bass that Kim has listed in his cover letter. Also, the lead vocal is quite prominent in the mix, and has a dry sibilant sound that could begin to overwhelm the track with repeated listening.

Suggestions: First off, let us express our admiration for Kim, who at 63, is still making good music. Regarding the above-mentioned issues, let us suggest that he dust off that '73 Rick and take it for a spin on this track. Even with its characteristic gnarly midrange tone, it would be preferable to his keyboard-generated sound.

As for the vocal, Kim certainly has a good handle on his reverbs, as witnessed by the 'verbed snare mentioned earlier. We would encourage him to apply a small amount to his lead vocal and set the vocal back in the mix a bit. Since the vocal sibilance sounds compressor-generated, we suggest that Kim re-adjust the attack and release ratios (slower attack/quicker release) on his compressor and experiment with his threshold in order to calm down his sssss'es.

Suggestions: Rock on, Brother!

Contact: Kim York, www.kimyork.com.

About: Marty Peters

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