Not long ago I came across a new form of capos. In galaxy very close by. Actually it was this galaxy. More specifically it was in a town known as Anaheim. The Anaheim that sits in the California region of the planet earth. Capos are a funny business. Lots of musicians use the cheapest products they can find without thinking about how they affect the sound. I always look for the thing that will get the great sound. Oddly enough capos and the kind you use can make a difference. Which is why on such a faithful day where I found out about a company called G7th and their capos, I instantly made the switch. Why? Because they’re awesome. Actually it had a couple of better reasons. First their weight. They have a good solid weight to them. Second, their ease of use. They work on some kind of engineering magic where you can set the tension as simply as closing your fingers. That way it doesn’t clamp down too hard on the strings and push them out of tune. It’s a love thing.
Today I’d taking you into the studio for a little clip about my upcoming song “Till We Meet Again” wherein you see me making use of the G7th’s awesomeness. Click on that video and realize I too use capos to get the proper key and sound for a guitar and my voice.
So if you’re looking for badass capos, especially the one I use – then you need a G7th. You won’t regret it!
Capos And Recording
Yeehaw baby.
I think we’re ready. Let me double check my tuning real quick.
technically with the panning you don’t need to pan the microphones in my headphones
as we’re recording. That’s what I’m saying you can turn them back to center.
Alright. Let’s see if we’re
all set to go. That sounds beautiful my
head.
There’s a little drum pattern that starts at what? Bar 3? You can set the record button to
the song position line to start there
‘Cause that’s a two bar count in for me and I start at 5. Do what? A one bar pre-roll? That’s fine. As long as I know it’s two bars.
We were in love…
and it was magic.
happy
I’m usually a hermit in the studio, but I’ve opened up a little and had a little episode of backseat producing that led to a discussion that involved Manolo Blahnik shoes. In the past, I rarely let people in the studio while I’d be singing. Hence the reason why I’d produce them myself. I’m changing things around. Especially since I’ve been having George Leger III producing vocals for me.
One of the things an artist will discuss during the recording is how they will go about singing a breakdown. Which is exactly where I’m about to take you in the following video. George Leger III (co-producer), Jesse Stern (co-writer) and I take a moment to figure out the correct way for me to be singing the breakdown in Till We Meet Again. Jesse takes charge to give a mental picture of an example that should give the right vibe.