The TGF Challenge - Words of Wisdom?

I have a tank? Don't have a pic with me though....

Iā€™ve known dudes that love their tracked vehicles ā€¦ hell my neighbor across the street (when I lived in Colorado) had a jeep backed up into his garage with a fully auto 30 Cal mounted on the rear. Ready to rock ā€˜nā€™ roll. Lol.
 
One of the best pieces of advice I have heard on playing guitar and making music was from Vernon Reid
in a magazine interview decades ago (early 90s when Living Colour first broke??). He said, "Go have experiences.
Live life. Get your heart broken. Have your dreams dashed. Step out of the ordinary. Walk somewhere you have
never been before." (paraphrase)

Had nothing to do with technique or approach. His point was that if we are empty inside and have no actual
experiences to draw from---maybe because we are sitting alone in a room all the time woodshedding---then
maybe whatever music we do end up making will not have much depth or substance either. :idk

Given shred was at its peak around that time I took that advice to heart. Still feels vital and significant to me today.
 
I have a tank? Don't have a pic with me though....
I had something similar to this back in the 60ā€™s lol
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Iā€™ve got to add this tidbit though.
I was a 19Echo tanker for awhile and being 6ā€™4ā€ tall I had bumped my head a few times lol.
 
Sorry @Iron1 for the diversion!


Yes at fe1

But, I would ask if is it really a diversion - or is it just another facet of the same shared human experience of exercising your gifts?

I mean, I know a woman who definitely experiences ā€œflowā€ when sheā€™s doing quiltsā€¦ And sheā€™s a freaking mensa member

Explore your soul

Art Loop GIF by Pi-Slices
 
The big one ā€¦ blaser tac2 in .300wm w/ 24x hd glass. Good to nearly a mile. šŸ˜‡

View attachment 11517
It can do a mile and a hair more if you have the correct twist rate to run the heavies. Custom/handloads are the best bet at those distances though.

Love the Vortex optics and the SF can.

Schmidt & Bender are so ridiculously priced for the US market over the last 8-10 years that the juice is not worth the squeeze any longer. Vortex and Nightforce for me.
 
It can do a mile and a hair more if you have the correct twist rate to run the heavies. Custom/handloads are the best bet at those distances though.

Love the Vortex optics and the SF can.

Schmidt & Bender are so ridiculously priced for the US market over the last 8-10 years that the juice is not worth the squeeze any longer. Vortex and Nightforce for me.

I generally shoot ~180sā€¦ Although the guy that machined the muzzle for the SF can was a former triple canopy guy who shoots 204s. I donā€™t have enough OAL in the chamber to go that heavy. We discussed it lol šŸ˜

Not reloading atm ā€¦ another deep hole for my head šŸ˜‚
 
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OK. That was fun but back on topic.

I enjoy the push to create something, although I haven't contributed in the last 2 cycles. I have a few more partial tunes in the works to get back into participating again. It was fun learning experience. I've forgotten a lot of what I had initially learned about recording, mixing etc back in the 2008 timeframe.

Time to hop back into it and get some things done, even if they're not completely what I was hoping for.

Like MoonDogWilly said, the group here is not judgmental and very kind to put a positive spin on hack contributions like my own.

There are some very talented contributors that I've enjoyed listening to.
 
Iā€™d never recorded a song before the Do Something challenge (omitting a few shitty 4 track demos as a late teen) so in that regard itā€™s all new to me.

The one thing I will say thats really helped me though is finding a workflow, primarily in doing a ā€œdemoā€ pass before actually tracking. On the first few attempts I was juggling everything and getting overwhelmed by trying to write a part, then track it ā€œpristineā€ (much less double and triple track it) and then start doing mix tasks trying to make it perfect as I went. Then I would move to writing the next part, rinse repeat. But I ended up worrying about tracking while trying to write, and mixing while trying to track. And a lot of times I would end up bailing on a track that I had spent way too much time on doing shit that didnā€™t matter until I had a song I liked.

I saw a video from someone on YT talking about the value of doing a shitty demo first. So I started approaching it while writing to not worry about if Iā€™m 100% in tune, in time, have the right tone, flub a note etc. Just doing a single track and building the entire song as a bad demo. This allowed me to bail on songs with less time put in to it by not trying to perfectly track and mix as I went, and I found if I did come up with something worth putting the time into, tracking takes half the time, because the entire framework of the song is already built on that shitty ā€œdemoā€. I can kind of go on autopilot tracking because Iā€™m not trying to ā€œwriteā€ the song or ā€œmixā€ it.

Which I suppose is about 500 more words than necessary to say finding a workflow has probably been the best thing I figured out. Thatā€™s been more helpful than any technical part of recording and mixing.

And that really helps because with kids, work, life etc. itā€™s kinda hard to pump shit out here on the weekly. lol :ROFLMAO: :ROFLMAO: :ROFLMAO:
 
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Iā€™d never recorded a song before the Do Something challenge (omitting a few shitty 4 track demos as a late teen) so in that regard itā€™s all new to me.

The one thing I will say thats really helped me though is finding a workflow, primarily in doing a ā€œdemoā€ pass before actually tracking. On the first few attempts I was juggling everything and getting overwhelmed by trying to write a part, then track it ā€œpristineā€ (much less double and triple track it) and then start doing mix tasks trying to make it perfect as I went. Then I would move to writing the next part, rinse repeat. But I ended up worrying about tracking while trying to write, and mixing while trying to track. And a lot of times I would end up bailing on a track that I had spent way too much time on doing shit that didnā€™t matter until I had a song I liked.

I saw a video from someone on YT talking about the value of doing a shitty demo first. So I started approaching it while writing to not worry about if Iā€™m 100% in tune, in time, have the right tone, flub a note etc. Just doing a single track and building the entire song as a bad demo. This allowed me to bail on songs with less time put in to it by not trying to perfectly track and mix as I went, and I found if I did come up with something worth putting the time into, tracking takes half the time, because the entire framework of the song is already built on that shitty ā€œdemoā€. I can kind of go on autopilot tracking because Iā€™m not trying to ā€œwriteā€ the song or ā€œmixā€ it.

Which I suppose is about 500 more words than necessary to say finding a workflow has probably been the best thing I figured out. Thatā€™s been more helpful than any technical part of recording and mixing.

And that really helps because with kids, work, life etc. itā€™s kinda hard to pump shit out on the weekly. lol :ROFLMAO: :ROFLMAO: :ROFLMAO:

Thank you for sharing all of that!

I think finding a consistent process that works for you really really helps. šŸ‘ā¤ļøšŸ™

If Iā€™m on target for the challenge, Iā€™m writing and performing Tuesday and Wednesday, editing and producing Thursday and (w/rough mix) Friday, final mix down on Saturday w/ fresh ears.

I think I usually take a week off because itā€™s intense.

Iā€™m jealous of the guys that throw down something in a couple of hours. But I really enjoy doing the whole enchilada!
 
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