Dave Bryce

I used that for years. 😎👍🏻 dB

Kurzweil Forte. Which program depends on the tune. dB

+1 for the AX80. Underrated for sure. dB

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I like to say that I have SHED Syndrome - Something Hurts Every Day. Musically, good year in the studio, not so good gig-wise. Part of me is bummed about the decrease in gigs, part of me is just fine with it. I did unexpectedly lose my main job a few months ago. Long stupid story there. Maybe time to change industries - can you do that in your 60s? dB

Has to be my MiniMoog. Still the standard sonically to which I hold (most) other synthesizers. dB

Merry Christmas to all y’all! 🎄🎊😎 dB

My latest acquisition: dB

What an excellent film! Bradley Cooper did a spectacular job on both sides of the camera, and Carey Mulligan delivered a performance for the ages. The music, of course, is nothing short of breathtaking - even the pieces they chose for the end credits… dB

Good call. It’s been my favorite mic on my voice for VO for a long time. dB

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The R88 basically being two R84s is a fairly common misconception. I’ve grumbled at Wes Dooley over the fact that their marketing isn’t clearer on this point. The difference is that an R84’s front and back elements are intentionally offset, so they have a slightly different character. The R92 (smaller, more compact version of the R84) is the only other AEA product built like that. When I had an R84, I had a bunch of fun deciding which side to face towards my source and which to face towards the room/wall/piano harp, etc. The Blumlein design of the R88 means the front and back elements need to be symmetrical. Totally agreed. ☺️ Again, totally agreed. M160s are awesome. The only thing I would add is that ribbons tend to be more natural sounding than condensers…and can be less forgiving/harder to place in terms of finding the sound you want. dB

It’s worth a lot! Thanks for sharing… 😎 Great tune! Makes me think a bit of Frank Zappa and the Guess Who. Killer groove…love the vocal harmonies. dB

Coles are known for being kinda dark. If you’re gonna go with the Royer 121 and a Cloudlifter, get Royer’s active 122 MkII instead.. Consider the AEA R84 or their active version, the 84A; or, if you fancy a top address mic, check out their Ku5A. I love mine. If you’re mostly doing live and want a pair for sure, definitely look at AEA’s R88 (also available as active R88A). Producer John Cuniberti did a whole video series on recording a roomful of musicians with just that one mic. That’d probably be the top one I’d recommend to you given your description of your room and the music you wanna capture. The RE20 isn’t a ribbon mic - it’s a large diaphragm dynamic. dB

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I just revisited the surround mixes, and now I know that the more familiar I get with the material, the more I’m able to be objective about the presentation. Not really that surprising. How often do you get two - much less three - versions of a collection of tunes out of the gate? dB

I tend to struggle staying focused when playing tunes that have really simple repetitive parts. Think “Leave Your Hat On”, or “Werewolves Of London”. No matter how hard I try to stay plugged in, my mind will not let me. Funny thing #1 - I have an easier time playing a simple repetitive part on a synth than a piano. Funny thing #2 - I have an even easier time playing a simple repetitive part on guitar than I do on keys. Funny thing #3 - I don’t mind hearing simple repetitive parts if they’re in a tune to which I’m listening - I just don’t wanna play them. dB

Thank you, brother! Nickname for a college roommate. His last name was Wohlgemuth, but everyone called him Woog. dB

IIRC, the Chroma had a voice relationship with the ARP 2600. Maybe it was just the oscillators…? If so, I wonder how close one of the soft 2600s could get in a poly mode…? 🤔 If brother mate stubb sees this, I’m guessing he can shed some definitive light. dB

All the GForce software has just gone on sale for the rest of the year, including their new AXXESS polysynth. dB

GForce Software is delighted to present AXXESS, a fat poly synth that is a quick and easy way to get stunning results in your production. It’s amazing with bass and has a fantastic, huge sound that will surprise you. While you can keep things simple, don’t let its looks deceive you. You can also go much deeper, thanks to GForce unique X-Modifiers. They make it simpler and quicker to program complex sounds. AXXESS lends itself superbly to Electronica, Synthpop, Drum and Bass, Ambient, Rock, Prog Rock, Hip Hop and more. Available for introductory price of $39.99 at the MPN Shop! dB

Eagles. Some spectacular plays by Seattle to end the game. That last TD catch was killer, especially in the rain…and the game-ending INT was pretty clutch as well. dB

Probably this one: Rockin’ Wid De Woogman As to why, I guess it’s because I feel like it has the most finely tuned combination of fun and energy of anything I’ve written…and lots of synths. 😎 dB

I love the gain envelope approach. Been a fan for a while now - I’ve always seen it as the closest you can get to having someone intelligently moving your faders in real time, which is essentially what compressors do in many volume-related instances. I do still use some compressors though…but almost entirely to get the sound they bring, so more as an effect than for taming dynamics. I also tend to use hardware limiting on the way into the box to control peaks. For years, my baby has been my Summit TLA-100 because of the ease of use, the smoothness of its optical circuit…and the lovely tube sound. 😎 dB

Product most worth the (reeeeally) long wait: Expressive E Osmose. dB