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Lucy & La Mer – Oak Tree


Last week we released the 2nd single from the upcoming Lucy & La Mer EP on iTunes.  It features Lucy LaMer on uke and vocals, Anna O’Connell on harp, Brett Fromson on Mandolin, and myself on bass (we all contributed the handclaps).

Here’s a little video we put together to promote its release:


Dynamics: End of the “Loudness wars?”

Check out this video from mastering engineer Ian Shepard.  He demonstrates how “Sound Check,” a feature in iTunes that matches the volume between tracks is bringing back dynamic range in pop and rock songs.

Check out the rest of his post here.


Comeback for cassette tapes?


If you’ve been to many indy rock shows lately, you may have noticed bands selling their music on cassette tapes.  This has been a hard thing for me to understand.  The noise, wow, flutter, inconsistent speeds make this medium almost unlistenable.  Their only merit was portability. But in the age of digital downloads and streaming, any physical format that doesn’t sound significantly better than your downloads on iTunes become obsolete.  So why this trend?


Apparently, it’s a great way for bands to connect to their fans.  This quote from Slate Magazine and has made me a convert:

Much like a pin or a patch used to, cassettes put a name and face to an artist. Instead of having to remember a Bandcamp link, they serve as a way to commemorate the experience of a show—for less money than a T-shirt or LP—and, potentially, keep fans coming back. While streaming a release online is the most fiscally sound way to distribute music, it is also the most disposable. Bands who hand out cards with website URLs or download links after shows know most of them end up in the nearest garbage can. A handmade cassette, released in a limited run—often 100 or less—offers a more personal connection to a new band than other formats, even a handmade CD-R. The cassette format is just a more attractive souvenir.

You can read the entire article here.


New unreleased Beatles album

I’m a huge Beatles fan, not just for their songwriting, but their innovative studio techniques fostered by producer, George Martin and engineer, Geoff Emerick.  That being said, a lot of their raw musicianship is revealed when you take away the studio magic and that’s why I’m excited to hear this second volume from the BBC sessions.

Read below:


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