Royal Dead CD Go Bat Go! Out Now

Featured, News

Royal Dead CD Go Bat Go! Out Now

Posted on April 12, 2012

The new Royal Dead CD, Go Bat Go! is out now!.

Recorded over 2011 this CD features a mix of brand new songs and reworked new interpretations of songs from the last album. Hard tunes like Dead Sled and Death Cycle tear things up while first ever recorded acoustic versions of Royal Dead songs show their diverse range. I handled the recording, mixing and production on this release.

Guest appearances include Vic Victor; from fellow psychobilly band Koffin Kats, Harley McClellan; formerly of New Orleans hardcore band When Dreams Become Nightmares, London Mourdyn formerly of Denver’s Deviant, and D’ MacKinnon formerly from Divine Reich and Deviant.

Featuring Death Cycle, Dead Sled, and Corpse Bride.

You can pick up the physical CD at your local retailer, at a Royal Dead show or via the KGM online store.

It’s also available for digital download via iTunes and Amazon.

Here is the full video for the song Death Cycle

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Music, The Tubes

Bristol Jungle Documentary

Posted on March 16, 2012

My friend DJ Mad Wax over at City of Bass shared this amazing documentary on the early Jungle/Drum and Bass scene that emerged in Bristol during the 1990s. This documentary takes you through the scene as it was in 1996. Some great interviews and some classic tracks.

Untitled from Eduardo Sanchez on Vimeo.

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Upcoming CD Release and Music Video Premiere for Royal Dead

Music, News

Upcoming CD Release and Music Video Premiere for Royal Dead

Posted on March 16, 2012

Royal Dead have been hard at work in studio over the past year and next week you get to see some of that hard work come to fruition. Here is a taste of the music video for “Death Cycle”. You can see the full video next week exclusively at the CD release show for Go Bat Go! March 24th at 3 Kings Tavern.

Go Bat Go! was recorded at KGM Audio, which is the studio I co-own. I handled the mixing and production.

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Tip of the Week: Mix Notes on the Go

Music Production

Tip of the Week: Mix Notes on the Go

Posted on January 10, 2012


When I’m working on mixing songs I always check my mix against a variety of setups to ensure that it’ll sound decent on as wide a variety of systems as possible. My workflow will usually proceed as follows:

  1. Mix on studio monitors
  2. Run through pre-lim mastering process
  3. Check mix again on studio monitors
  4. Check mix on car stereo 1
  5. Check mix on car stereo 2
  6. Check mix on laptop speakers
  7. Check mix on ear-bud headphones
  8. Check mix on over-ear headphones
  9. Check mix on shitty boombox
  10. Repeat steps until mix is refined to final state

In my opinion, the car mixes are the most important as that where the majority of people tend to listen to their music. With such a large number of listening environments things can get disorganized pretty quickly unless you have a process in place. I used to carry around a paper notebook specifically for mix notes but I noticed that it tends to get a bit messy. Sometimes I forget if I’ve already made a fix I took a note on, sometimes I don’t have my notebook with me, etc. While I still keep the notebook around for quick notes now I’ve switched over to using Evernote. I first heard of ever note when I went out to SXSW in 2011. I used it at the conference to take notes on my iPad while on the go. Evernote stores all of your notes in cloud storage so you have access to them from any computer, tablet or smartphone. This is much better than copying files back and forth from a USB drive, you never need to worry about if you have the most recent version if you are making changes on multiple computers. They have native applications available for desktop, iOS and Android in addition to the website interface. Since Evernote worked so well for me at the conference I decided to start using it for other things as well, such as taking notes down on mixes when listening in my car. I can just update the mixnotes notebook from my smartphone and then look it up later when I’m in the studio. As I make the changes I just take them off the list. Next round of mix listening I take more notes from my phone or desktop and repeat. The free version only limits the amount of data you can transfer per month, since most of mine is text I have yet to really run into going over my allotted bandwidth.

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Why You Are Not On Commercial Radio

Featured, Music

Why You Are Not On Commercial Radio

Posted on October 11, 2011

It’s kills me to see how little most struggling musicians understand about the music business and the practices that transpire. Even all these years there is still this mystical veil that seems to shroud the inner workings of the industry machine. It’s not all rainbows and fairy tales kids.

There is no doubt that the music industry has seen dramatic changes over the past decade. However, commercial radio, you know..the big FM channels; they still pretty much operate the same way they have for the past fifty years. Commercial radio is still firmly in the grasp of the major record labels. To understand why the majors still control radio while having lost considerable size everywhere else you need to first understand how new music gets added to the playlists of commercial radio.

The majority of the time the music is chosen not based on the talent and merits of the artist but by money paid from those with established relationships with the radio stations. The labels get around payola laws by paying third party “indie promoters” to work a song. In reality they are merely a pass-through for pay-to-play. The indie promoters pay the radio stations whose Program Directors then add the “promoted” songs to their playlists.

So you may ask yourself, “Well I have one million dollars. Why can’t I just pay the indie promoters to get radio play?” Sure, if you indeed had the funds you could pay the indie promoters. And you may get a few plays during the off-hours at like 4AM when no one is listening. I’ve seen many bottom feeder companies prey upon the hopes and dreams of naive musicians and do this exact thing. You’ll get a few spins on some station up in Minnesota once or twice. For an additional payment they’ll promise to keep working your song. You’ll never see consistent and repeated radio play though. That’s because the indie promoter’s primary clients are the majors. They are the ones who will repeatedly come back and pay them weekly where as an independent label or artist may only pay once or twice. Why would they prioritize your tracks over those of their big clients? They wouldn’t. Sure, once in awhile a song will go viral or break out and get radio play. But this is an extremely rare case nowadays.

Will things get better with commercial radio? Not anytime soon. However, if you are an DIY artist or signed to an independent label don’t fret. You don’t need commercial radio to be successful and for most it’s a waste of time to pursue. Focus your efforts on avenues where you can thrive.

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The Making of Prodigy’s “Smack my Bitch Up”

Music Production

The Making of Prodigy’s “Smack my Bitch Up”

Posted on July 20, 2011

Found this great video on YouTube today about the making of The Prodigy’s “Smack My Bitch Up” and how you can reproduce the track using some samples and Ableton. Pretty crazy to see just how many samples went into the creation of this song, little snippets used here and there that the average person would never spot. The video is pretty spot on, I know that Liam used a Korg Prophecy run through an envelope filter (possible a wah pedal for this) for the acid bass line but here they show you how to accomplish the entire track strictly in software.

Keep watching, at the seven minute mark he shows the final track.

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Face the Beat Volume 1

Featured, Music, News

Doom Generation song “Possessed” available now!

Posted on July 04, 2011


I am proud to present the debut track by my collaborative project, Doom Generation. I formed Doom Generation in 2010 with Eddie Suicide of Royal Dead and we have been working on material in the recording studio. Our song “Possessed” available now for a limited time as a free download as part of Side-Line Magazine’s “Face the Beat Volume 1” compilation. Get it here now.

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Rewind…

Music

Rewind…

Posted on April 27, 2011

For another trip down memory lane I present to you Ogre of Skinny Puppy fame and Trent Reznor (Nine Inch Nails) performing the song “Suck” together as part of Pigface during a tour back sometime around 1990/1991.

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The Mind is a Terrible Thing to Taste

Featured, Music

The Mind is a Terrible Thing to Taste

Posted on April 27, 2011


After all these years, Ministry’s “The Mind is a Terrible Thing to Taste” is still one of my favorite all-time albums. It never seems to get old to listen to. When this first came out nothing sounded quite like it. It was danceable yet thick with foreboding menace. I would argue that this was Ministry at their creative peak. Nothing anyone has since has sounded quite like this although there were a plethora of imitators in during the 1990’s.

I knew I was in for a treat when I first saw the cover. You have to take into consideration the time period when this album came out. MTV was spinning some pretty wretched hair metal, hip-hop was churning out sanitized suburb friendly pap like Kid N’ Play. “Mind” was a kick in the gut and a death knell for anything clad in spandex.

Songs like “Thieves” and “Burning Inside” were the perfect combination of heavy guitars and pneumatic drums. The droning bass on “Cannibal Song” mixed with moody samples and shrieking vocals evoked an audio landscape of gloom and despair.

If you haven’t heard this album before it’s a definite recommend. If you have listened to it lately, pop it in for a spin.

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The Obscene Gravity of Silence

News

The Obscene Gravity of Silence

Posted on April 10, 2011

The Obscene Gravity of Silence

Paulie Lipman’s The Obscene Gravity of Silence was just released in March. I’ve known Paulie probably since the mid-late nineties. We’ve had numerous mutual friends over the years and he used to work at a coffee shop that my friends and I used to frequent called Cafe Netherworld. We have both been in bands in the industrial music scene and I’ve seen him perform his slam poetry a ton. I moved away for awhile to NYC and then moved back to Colorado in 2009 and started building a recording studio to use for bands on my record label and for my own music. Paulie mentioned to me in late 2010 that he was working on a new spoken word album and I offered up use of my studio for him. Over several months we worked on recording his new album, Obscene Gravity of Silence at my studio. We’d lay down vocals and then I’d help him record the backing music behind the tracks, mostly with selection of sounds and drum programming. He performed all of the instruments, I just assisted with the recording and mixing. In all we completed all of the recording between December 2010 and March 2011 with Paulie composing the last of the music using Reason and his laptop.

You can pick up his album on Bandcamp.

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