solarbird: (music)

One of the projects I’m working on is a soundtrack for a fantasy novel series by Angela Korra’ti. The trilogy is collectively called The Free Court of Seattle, with first novels Faerie Blood and Bone Walker.

Kickstarter backer copies and pre-orders for Faerie Blood in electronic form are going out now, as in, right now, as in check your inboxes. The first copies of the print edition should be made this week, and ship shortly thereafter. Electronic editions will be available through Amazon/Kindle, Apple/iBook, B&N/Nook, Chapters/Kobo, and the rest of the alphabet as the rollout schedule progresses, print editions will come through Third Place Press.

I’m the book designer – hey, I have an art degree, I may as well use it – and I’ve restarted my old small press to handle taxes. It’s weird being back in the small-press saddle. I never thought I’d typeset LOW ORBIT PUBLICATIONS again, much less announce book releases, but, well, here I am!

I’m really happy with how this book looks. By which I mean, PDF people? We are Retina-display aware and ready. Because that is just how we roll.

I also finished one of the original songs for the soundtrack last night. Anna was all jumping up and down at the lyrics.

This? This is gonna be good.

Mirrored from Crime and the Blog of Evil. Come listen to our music!

solarbird: (music)

All the mastered tracks for Dick Tracy Must Die have now been uploaded to the website for listening and purchase!

I really hope people will go listen to the final version of the album. It’s been a huge amount of work and an emotional roller-coaster at times, no lie. But I’m proud of it.

Also, even if you’ve listened to songs from the album before? Listen again. Mastering is a collection of subtle arts, and you can hear a lot of them at work on these tracks. It’s really neat to hear, particularly in the denser studio tracks, and tracks with lots of drum, like “Stay Away” and “Shout at the Desert.”

I mean, sure, some of it is obvious; you’re doing equalisation across tracks, you’re putting everything to CD/download specifications, you’re making sure all the levels are compatible, things like that. And there are technical things, like ISRC codes, that nobody much notices, except that’s how iTunes knows the names of the songs on that CD you just put in the drive.

But some of it’s just surprising. In one case… honestly, I have no idea what he did. But it was like he took an unsharp mask filter and applied it to sound. It was literally like three adjustments, and is apparently a pretty normal thing to do, but… I have to say, it was a HOW DID YOU DO THAT?! moment.

There’s more to talk about, but that’s for tomorrow. To be continued! (つづく)

Mirrored from Crime and the Blog of Evil.

May 2017

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