One point of contention that still exists despite many of the changes in the recording industry is proper monitoring. We now have access to recording interfaces such as the Universal Audio Apollo, which yields high-end studio results. In theory, you can have a pro studio for a fraction of what it used to cost to acquire.

Even with these advancements, audio engineers continue grappling with a complex aspect of the mixing process: monitoring. It's common to have top-notch equipment and struggle with a mix. This begs the question: How can this be?

Recording and analyzing live performances has become integral to my musical journey, providing valuable insights into my improvisational guitar solos. Utilizing a simple iPhone placed strategically on stage or near the amp, I capture the raw essence of each gig, allowing me to reflect on what worked and what didn't.

Reviewing these recordings is a powerful tool for self-assessment, dispelling the tendency to overly scrutinize minor mistakes made in the heat of the performance. It's a means of separating perceived errors from the overall impact of the musical experience, providing a more balanced perspective.

In this week's episode of the Anatomy of Tone podcast, I delve into the enigmatic essence behind Angus Young's legendary Back in Black guitar tone. The Schaffer Vega Diversity System, a pioneering wireless unit used by prominent guitarists during the late '70s and early '80s, concealed more than its cordless stage prowess. Musicians soon realized its studio magic, offering a distinctive tonal hue coupled with subtle limiting, a lower mid-range boost, and a touch of gain.

Stevie Wonder is one of my favorite songwriters. His adventurous chord progressions and melodies really excite my ears and mind. Stevie is one of those artists that can make complex ideas sound simple and approachable.

In this week's podcast, episode 15 of Anatomy of Tone, I mentioned one of my favorite Stevie Wonder songs, “Too High,” from the Inervisions record released in 1973.

In episode 14 of the Anatomy of Tone podcast, I talked about how the Bee Gees used an expansion technique in the bridge to take a familiar phrase and wake our ears up. The Bee Gees were crafty songwriters. Not only did they write a very memorable riff for this song they found ways to reuse the riff without it feeling overdone.

An example of this is in the bridge. If we look at the song's intro, we’ll see two bars of a riff in F minor. Then we move to two bars on a Bb chord. This is the basis for the instrumental hook of the song.

I discussed some of my favorite musical accessories in episode 12 of my Anatomy of Tone podcast. I wanted to add an article with links to find these beautiful accessories.

In episode 12 of Anatomy of Tone, I discussed Rick James’ “Super Freak” and the use of mixed modes. The verse riff is based on the A Dorian mode, while the pre-chorus is based on the A Aeolian mode. This subtle change between modes creates a refreshing effect on the ears.

Step modulation, also known as pitch shifting, is a captivating technique in music that adds a unique and dynamic element to compositions. By altering the pitch of a musical passage or instrument in specific increments, step modulation offers an intriguing way to explore different tonalities and create a sense of movement within a piece.

In Episode 10 of the Anatomy of Tone podcast, I delved into Tom Petty's song "Yer So Bad" from his album Full Moon Fever. In the podcast, I love pinpointing standout moments in songs - not only to discuss songwriting and composition craft but also to share how I research music to build my own library of creative ideas.

The chorus section of "Yer So Bad" caught my attention due to its unique structure of measures, setting it apart from other songs. Tom Petty was a master of songwriting and took his craft seriously.