Part 7 is very interesting because it relates very closely to Part 3. This new section follows the same themes within Part 3, but in a different relative key. Part 3 was based around Bb major, which is the relative major scale of G minor. Part 7, however, features the same themes but played in G minor and, in some sections, G harmonic minor.
Every producer has his or her secrets. Some use gear, like a certain mic or pre or vintage amp to get a signature sound. Sometimes it's studio trickery. I just like to think of it as being in control of the studio space and the tools at hand. Sometimes the most obvious tracking methods are overlooked by the casual observer. Here are some of those tips. I guarantee a better sound by applying these simple methods.
There are those people who can fit in in a wide variety of genres, and it's not just the licks or music theory knowledge or clothing that gets them the gig, but the tones as well. I'm not saying you can't bring your Kramer to a country gig; just know how to make it sound twangy.
Where else can one buy a 64-ounce Mountain Dew, a sandwich under a hot lamp, a bagged pickle and an alligator head under one roof? More over, why the fuck would you buy any of these items in the first place? I do not hold the answer to these questions but rest assured I have purchased one or more of these items.
Let me just put this out there: I love my Martin. I'm the type of person that would want to keep my Martin in a glass case at all times. With that said, when I go on the road I like to take an acoustic guitar with me to write. When traveling on a bus it's really easy to be able to carry an acoustic guitar on board and stow it away in a junk bunk or back lounge.