The Christian country song titled Fight The Good Fight, is mixed and out to the songwriting team of Jeff Rutledge and Jerry Ryan, the second we’ve done for them:
A clip of the Rutledge/Ryan “before” version”
Our Play It Again Demos arrangement, picking up where the rough leaves off:
“Hey Bill, I just want to say what an excellent job you did on our song “Fight the Good Fight”. I love all the guitar work and the harmonies that you added. Thank you very much and please pass on my appreciation to the musicians you used”- Jeff Routledge
“Bill, We all love it! Great job! You guys out did yourselves this time! God bless.” Jerry
The song is hot off the press with publishing open and right of first release intact. If you’d like to publish or record it we’d be glad to forward your interest to the songwriters.
Fight the Good Fight is © 2014 Rutledge/Ryan. All rights reserved, presented here as a demonstration of production values, all other use prohibited under U.S. and International copyright law.
Steve Whitaker has released his album, Edge Of Oblivion Steve Whitaker
The bass guitar tracks on all eleven songs were provided by Nashville Trax Bass Guitar Tracks Online.
Steve was thrilled with his bass guitar tracks. Here is a previously published blog post about Steve Whitaker’s album Edge Of Oblivion that includes several strong testimonials about our Bass Tracks Online service.
Here’s a preview of the Dan Thompson’s song Southern Shine, no vocals, unmixed raw tracks:
It may be his next single to be released to Canadian radio this coming spring, his current single, also produced here, “Miles and Miles” is enjoying over 2,000 spins per week.
Dan will be returning to the Nashville area in late February to add his vocals.
Drums: William Ellis (Montgomery Gentry)
Bass Guitar: Bill Watson (Nashville Trax producer)
Acoustic and Electric Guitars: Tom Wild (Nashville session guitarist)
Fiddle: Jenee Fleenor (Blake Shelton)
Banjo: Aaron McDaris (Rhonda Vincent)
Produced, arranged and engineered by Bill Watson
Call your local radio station in March and ask for Southern Shine by the Dan Thompson Band!
© 2016 Dan Thompson. Posted for demonstration only. Any other use is a violation of U.S. and International copyright law.
If you check out customer comments on the Blue Encore 300 at the online music sites like Musician’s Friend, Sam ash and similar you’ll see over and over that “it’s a great live microphone!” A couple folks sheepishly admit they’ve “tried it on electric guitar in a recording situation with good results” or some similar lukewarm comment.
Political correctness can take a hike, this is one great sounding microphone! Not just for the stage, for studio too!
I own my own studio located in the Nashville area, have years of studio experience and use full time Nashville session players on my sessions. Just today I used the Blue Encore 200 on a fiddle session with Jenee Fleenor (Blake Shelton’s fiddle player). After the session she said, ” I like the sound of this Blue over other mics we’ve used in the past.”
The Blue Encore 300 excels on fiddle! Or should I say, “The Blue Encore 300 can excel on fiddle, depending on the song.” On some songs you may want a soft violin tone and go for a ribbon microphone, others you may want a very aggressive sawing sound and use a large diaphram mix with a hard peak in the upper frequencies. But in general, the Blue delivers a nice round tone that can work on a lot of tunes.
Yesterday I tried the Blue on a rap vocal. It worked great. Tons of presence, and great tone that cut right through the mix.
Other uses that worked out great, male bgv’s, male pop lead vocals and electric guitar.
One notable misfire:
Banjo: The mic’s transient response is not fast enough to track 5 string banjo well.
If you’re having trouble getting good, clean tracks packed with presence or simply need a good work horse studio microphone and can’t afford to pay over $200, I highly recommend the Blue Encore 300.
“But it’s not designed for recording!”
“I couldn’t care less what category some marketing guy in California decides to go with,” I reply, “I’m into results. Good sound is good sound!”