Influences: The Beatles, Mose Allison, James Booker, Ry Cooder, Guy Van Duser, B.B. King, Mark Knopfler, John Hurt, Dylan...oy, lists like this make my head hurt. And it's all dudes. Well - record by record, here are some other favorites: Suzanne Vega (Suzanne Vega & Solitude Standing), Joan Armatrading (To The Limit), k.d. lang (Absolute Torch and Twang), Shawn Colvin (A Few Small Repairs), Carla Bley (Heavy Heart).
FAWM #7. As usual, I have no idea how I'll find time this February but somehow I figure out how to ignore or let slide enough other things that it happens somehow. Because I love FAWM. So. Much. I've moved studios yet again this year, from one of the most soundproof spaces I've ever worked into to one of the least (at least for now), so expect lots of ambient traffic noises and such lending my tracks that lo-fi authenticity...
As usual, hoping to do more listening to my fellow FAWMers. Somewhere in the midst of February I'll be wandering off to the Folk Alliance conference in Kansas City, and I would imagine I'm not the only one.
Geek Notes: I've gotten questions about my recording setup over the past several FAWMs which, as a latecomer to that side of things, I find flattering in the extreme. I moved studios last May, and it turns out the room I was in until then had a whole lot more to do with how things were sounding than I had any inkling of. So I'm not sure how things will sound yet this FAWM, as I'm still struggling to get things sounding how I want in the new space. That said, I'm happy to explain what I do, for what it's worth. It's pretty nerdy, but here goes: I'm using a Lauten FC-387 large-diaphragm microphone, into a Shadow Hills Mono GAMA preamp, through an Apogee Symphony interface, into a "trashcan" Mac with Digital Performer. From there, I use (as plugins) a little EQ (cutting the lows around 200 and boosting the highs around 3750), a little compression (a hunt-and-peck process, to be sure) a little room-sounding reverb and a little hall-sounding reverb. I place the microphone about six inches from my face and a couple inches below my mouth so it picks up the vocals and guitar as evenly as possible, and the guitar is a 1956 Martin 00-18 that I feel incredibly lucky to play every time I pick it up.
No songs by this fawmer (yet).