His mix is a sythetic alien mime with a sexy walk. Pretty much.
Incidentally, the guitar tone on that recording comes from the unique instrument — a 1930s remake of an 1890s parlor axe. That small-bodied style of guitar has a distinctive boingy sound in the bass. No low end thump at all, but lots more wiggly high end than on a modern instrument. Here’s photos:
I need to find a way to cover or remix contemporary internet-based stuff like this without abandoning my premise. It’s good to make my stuff available for other people to remix, but it’s narcissistic to do it without also remixing other people’s music.
I wish that my own genre of guitar instrumentals had some way for me to make remixes. It’s selfish for me to not do it, not never RTing.
you could do covers of other people’s songs. You do that now, but it’s like you’re RTing long dead people.
Obviously I could just become a remixer, but the world already has plenty of those. I’ll make better music by sticking to what I know.
Any ideas? How can acoustic real-time musicians engage with remixers?
Anyhow, as always you are welcome to reuse the Alvin and Lucille recordings in mixes or videos. They’re under a creative commons license, and I’m happy to use just any license that suits you. There are full-resolution AIFFs available. The mixes keep vocals in one track and guitar in another, so that you can demix the parts. I like the music Tequila and I made, and I’d prefer to have it go to good use.
Incidentally, the song that me and Tequilla were playing is “Romance Without Finance,” by the long forgotten minor swing guitarist Tiny Grimes. I owned a cassette of it because Charlie Parker played in Grimes’ band back before Parker got his superpowers. The song has a sly sense of humor and raw rockinness along the lines of Luis Prima. The cassette was a Bird comp, not a Tiny comp, btw. Tiny’s gone gone gone, like a gravestone you can barely read any more.