It occurred to me yesterday that if I’m starting the marathon that is a new album, I should finally research a new microphone. I’ve had my Behringer B-1 for years, and it is a solid, well-respected mic that gets the job done. But I’ve long been trying to figure out why I so often have trouble with sibilants when I record my singing, and other artifacts on high frequencies that require frequent use of De-Esser plugins to avoid egg-frying hissing and ringing, and some research I did after recording “We Are the East” suggested the microphone was the most likely culprit.

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It’s time to get started. I’m assembling concept tracks for four of my newer songs, and reaching out to musicians to begin coordinating. I’m targeting a release for next year, but we’ll see how things go. More updates as this project unfolds.

I had promised I would share a version of “Concordian Soil” that would be a little easier to sing–sorry it’s a little late. This version cuts the very top notes off the chorus, and should sound fine. It only reduces the range of the song a little, but that is a rather problematic high note that was written for my voice (and pushes me if I’m not warmed up). Please feel free to move the song into whatever key works best for the voice or voices available. (I’ve added the alternate notes to the downloadable sheet music as well.)

Today was delightful, as I worked with Bird (that’s Juliana Bird with a Spanish J), recording tracks for “Tir Righ Rise” by Juliana la Badele (with an English J).

Bird is (unsurprisingly if you know her) my new go-to recording musician for brass, woodwinds, and harmonies. She is right: French horn is best horn.

Producing is so much fun, I don’t know how it’s legal.