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“All my vocals on this album were done in the dining room of my new house... everybody’s going, ‘This is the most incredible-sounding room in Nashville!’ You get all these people spending thousands of dollars, and I’ve got a dining room!”- Michael W. Smith

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Current Tape Reviews

Crossroads
 
Artist Name:
Mitchell W. Gearner
  Title:
Crossroads
 
Date Posted:
January 2012
 
Genre:
Rock and Pop
Equipment Used:

Roland VS-1824CD Digital Workstation, Yamaha MG166cx 16-channel mixer. Mics: RODE K2 large-diaphragm tube condenser mic (vocals, percussion), RODE NT5 condenser mics (overheads), Shure KSM109 condenser mic (inside kick), Shure SM57 (toms and snare). PreSonus Eureka channel strip (for RODE K2), preamps for drum mics were from the Yamaha MG166cx. TASCAM CD-RW900 CD recorder (for mastering mix to CD), Polk Audio TSi200 passive monitors, Alesis QS8.2 keyboard (piano, bass, organ), Pacific CX series drums, Zildjian A-custom cymbals, Fender Telecaster (American), LP shaker.

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Production Notes & Credits:

"Crossroads" is a male vocal rock song. Mitchell wrote the song, sang the vocals, and played all the instruments, with help from his son Kent, who played the guitars on the track. Mitchell describes the process for us: "Recorded click track, then recorded instruments in this order : piano, drums, bass, organ, shaker, guitars. Then recorded lead vocal, harmony vocals (2 tracks-same part), then backing vocals (3-part "Ooo's", doubled for 6 total tracks). Effects : reverb, delay and room ambience (using the onboard algorithms of the Roland VS-1824)."

Reviewed By: Marty Peters
Rating: 4
Recording: A pretty fine job overall here. Mitchell has presented a singer/songwriter style music bed a la the Eagles or late period Bob Seger, and shows some skill and taste with his performances. We were impressed with both the piano and (particularly) the organ sounds that Mitchell coaxed from his Alesis QS8.2 keyboard, and the kick drum and toms were full and articulate, befitting the genre. Michael also did a superb job with the Henley, Frey and Schmitt-sounding backing vocals; they are as convincing and well recorded as any that we've heard.

As for areas of concern, we would liked to have heard a bit more brightness and a tad less volume on the sidestick hits, and the keyboard-generated bass falls a little flat in comparison to a part from an actual bass guitar. Additionally, the tom fills would have benefited from some wider panning in our opinion. That said, these are minor issues and Mitchell and Kent acquitted themselves nicely here.

Suggestions: Minor fixes will be all that's required to perfect this great track, and kudos to Mitchell for including his son on the project -- he did great, and it's heartening to see the generations coming together with music as a bridge.

Summary: We hope you both keep at it!

Contact: Mitchell W. Gearner, mwgearner@yahoo.com
About: Marty Peters

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