Here’s the new drum kit that our drummer Ed will be using at his next gig. We were hoping that it would be a world first, but unfortunately this guy Weerachat Premananda Jr has pinched our idea and got in first:
Great gig at The Maze in Nottingham last Friday. Thanks to everyone who came along, and the other bands, especially the people who provided the gear share, and The Maze for having us back again (and The Maze again for continually supporting new original music).
Ed and Mick were sensational once more, plus Mick wore his cool red shoes which we love. I tried out my new keyboard stand, which was very solid (apparently someone said I looked like I was at the deck of the Death Star).
Here are some photos:
Thanks to Ian at Epileptic Gibbon for using one of our ‘extra limited’ tracks on his podcast recently (no. 106, or stream here). As I have mentioned here quite a few times, we didn’t use much limiting (sometimes referred to as compressing) at the mastering stage of our Honey and Lava album, because we felt that that destroys the dynamics (ie. the contrasts between softer and louder sections, not just in terms of the overall dynamics of the song, but even from moment to moment).
However, this means that our tracks sound much quieter at the same volume level than the usual modern track. In regards to our album this is no problem, as all you just have to do is turn the volume up. But on a smaller radio show or podcast that doesn’t have a built-in limiting or compression function (like commercial radio stations do) it is a problem, because it means that our tracks sound much lower in volume, and hence more feeble, than the tracks around it. So we have made available versions of our first album tracks that have been more heavily limited for use by radio shows and podcasters (just contact us to get them). Ian is the first podcaster to take us up on this, and so we’re very grateful to him for doing so.
Ian’s show is well worth a listen, he has more off-beat tastes than the usual prog show and finds good material that is otherwise overlooked. In fact, it’s something of an honour to have been included in his best of 2012 round-up (well, some of the best of the rest of 2012), seeing as from his perspective we come from the ‘AOR-pop’ side of prog.