I noticed quite some time ago I mix very differently in the studio for a record than I do for a live show. It used to be we lacked the outboard gear to recreate the studio in a live environment, so that was a limitation. Also, so much compression on vocals (and other stuff) live is problematic due to compressed mics hearing themselves and casting awful feedback. Lastly, parallel compression, delays and reverbs in the studio can be very controlled, live we don’t have a traveling engineer with us due to budget constraints, so how to come up with a “one size fits all” solution? Nobody wants to hear delays when you try to speak between songs.

Quarantine produced a variety of reactions from the music community. Some performers polished and completed projects long in progress. Others played nonstop on Facebook Live, while dreaming of an open bar. Some were too busy homeschooling their kids to write songs. And a few made creation a mission — like Stevens Blanchard, who decided to build a new record from scratch.

Each time that Stevens Blanchard has the opportunity to book a gig for his band, The Conniption Fits, he does a delicate mental tally. How many people will be at the gig? Will they be wearing masks and social distancing? How soon is the mortgage due?

We are excited to release some brand new music this year. “Forms in the Gaslight” is the first single off our new album due out in July.

New Year’s Eve we are hosting a Roaring 20's Speakeasy at The Fireside Inn, West Lebanon, NH.

Catch us at a live performance before summer is over!  We'd love to see you!

Introducing the next vicim...

Who dares place their neck at the mercy of the Conniption Fits?  Who dares sit upon the cursed drum throne of fate?