Stream it right here!
The mighty Zoom L-12! Thoughts below.
- All the Sub mixes.
Send the drummer a click? Yes. Hear my vocals dry and in all their pitchy glory but with plenty of reverb out front? Yes (I guess.😬).
- Save a bunch of mixes.
I have a playing-solo mix, an in-the-studio mix, a playing-with-a -drummer-only mix …
If you use tracks or loops live you need to be looking at this mixer.
- It’s a really great DAW interface.
Seriously. I was not expecting this. Real convenient. I actually just put my UA Apollo in the drawer/ to-maybe-sell pile. I use it with Ableton.
- Sounds great.
It is very transparent, and it will only sound great IF you spend some time with it. And not even that much time.
- It’s light.
If you are a gig’ing pro or you rearrange your home set-up a lot (daily?), which should be everyone reading, this is huge. Real livable.
Easy-to-manage wall wart. Etc.
Record every show and roll tape the next morning. How was the the gig really?
Great for practice too. 8 gig cards hold a lot, and how many of those do you have sitting around?
**Also, you can go semi-old-school and occasionally step away from the DAW.**
I shopped around for a year. Real satisfied. Please ask questions etc.
What a great, breezy book. Jeff Tweedy emphasizes the writing-of is the thing, not necessarily the One Song itself. Love of the process, which is its own reward, is more important than the goal.
How to Write One Song reads universally enough so that anyone can ape this do-your-first ethos for whatever it is that you want (but have yet to).
Before 2016, I’d written maybe 5 or 10 songs total, but I definitely (ridiculously) considered myself a songwriter, even though I would never have told anyone. But luck intervened, I randomly joined a song writing group, and now I’m in the 100’s. It took me over 45 years to start in earnest.
I needed a push. This book is a great push.
A total delight.
In getting these 35 songs out, or now 29 (if you consider dropping the 3’s), all of them need to be recorded. And, for me at least, all of them need to be played live as well. Everything is intertwined, but playing live is different from arranging and recording. If you try and make both versions at the same time, you’ll waste a good portion of your life otherwise better spent.
You also run the risk of getting into versioning hell, making so many multiples of a single songs that you enter an endless loop, never finishing any version of anything.
You are susceptible to the above when leaving the initial writing phase too quickly, not fully completing the first draft. (A huge issue when you have a lot of material to get out!)
So what can or can’t you do? Number 1 is eliminating all of your little unknown rules and stops; the do’s and don’t that you’ve allowed yourself. Who knows where they come from, but they are anti-art and must be eliminated ASAP.
One of my stops is a sort-of clash: overly-comparing my end product with styles I wish I more easily fell into vs. being an advocate of ‘you make what you make.’ My mind says, ‘this needs to fit x to get y.’ And I don’t even know what y is. But I’m also telling myself, ‘this is your own thing!’ I’m perfectly happy with my thing. I fact, I’m proud of it! But I like slotting in. Yikes, right? (And please, this is no sly self-compliment.)
Good news: I think I may have cracked the code on a couple of these stops: song structure and logo/ name. More on these next!