Search results

Thanks Spantini! The lead is actually doubled, but the double is super low, lower than I normally put them. Her voice is powerful, so I'm always careful with doubling it. I have her hi-passed around 120, I think, might be a tad too high. Thanks!

Another one from the project I'm producing for songwriter Laurie Green. I did all the guitars and bass, and programmed all the drums with Superior. The wife on lead vocals, Laurie's friend Tina on backgrounds, the half-time section has them both on backgrounds, the "hey-you" chorus parts was...

Cool tune, Strat. Yea try panning those backgrounds more, it should open up nice. Guitars sound great, strat or teles? Nice job on the drums too, seems the hats could be panned just tad more, they seem a bit too centered. Crashes sound killer. Got a Chili Peppers vibe towards the end.

I pretty much agree with everything already said. Toms are too far panned, they sound good though, tone-wise. Snare definitely reminds me of Floyd. Tamb does need some verb. Some of the guitars are mushy from too much gain. Kick is a little low. It needs just a tiny bit more click, too, I...

Nice job, Armi. Guitars sound great, thats the tele and a Les Paul, correct? Drums sound great, too. It's cool hearing the Slate drums, I use Superior and it's nice to hear the differences between the two, which doesn't sound like there's much. I got all of Slate's plugins and they're...

I agree there's a little too much reverb on the vocal. I'd start with lowering the decay time, and checking the pre-delay. This type of song does need some verb on the vocal, I just think there's too much. The section that starts around 2:38, the vocal is really buried, hard to hear what she's...

Nice heavy riffs. Tone sounds good to me, any more bass in the tone would probably be too much once a bass guitar is in the mix. The guitars will borrow low end from it. Kick is a little clicky, but fits the genre, I think. It'll have to be clicky to punch through, even more so once bass is...

That whole hour long interview is great, watched it many times. He also has two different hour long ones for PureMix, and a few others. I watch 'em over and over. On my long 6 hour drives to the cabin up north I hook the phone up to the car stereo and listen to 'em He has a few others for...

With all the Affinity Series talk, here's a 2005 I picked up for the heck of it brand new a while back for $150 because I liked how it played. Not sure if it's one of the alder body ones though? I've been tempted to get a Warmoth Bird's Eye Maple neck for it, but never got around to it. Hope one...

Tons. Still have 7 or 8 of my own songs finished and waiting for vocals, and just finished yet another one. Spending most of my time on my first client's album; 12 songs, 6 are recorded already, I'm just slowly finishing the mixes as we are tracking the rest of them. "Walking Alone" was the...

I think I agree. That faster run at 3:51 sticks out a little. I was actually having a little tough of a time coming up with stuff because I'm so used to what he already had there. If I deviated too much it didn't sound right to me. That particular run came out of me when I was just like 'screw...

Can you post a clip? Not sure what it could be, but you shouldn't be getting whistle tones from your mic. What kind of mic is it? What's your interface / preamp? Which DAW? Did you try different cables?

Two words: Clip Gain. Just make sure her quiet words are still decent enough volume. If some of her louder words clip while recording, it's no big deal because of floating point. It'll be a combination of bringing loud parts down, and quiet parts up to "meet somewhere in the middle". Sometimes...

I hate the loudness wars. I'll finish what I think is a good sounding mix, then after I tweak the limiters on the master bus, now it's kind of squashed and doesn't sound as good. Sure it's louder and might still sound great, but it sounded better beforehand. :facepalm:

Thanks miroslav. It doesn't take me that long to do, and I like keeping it in MIDI during the recording/mixing process because I basically tweak as I go. As recordings take shape and develop their character and personality, I'm always tweaking snare hits more, crashes, etc. I do just a rough...

Assuming you're on Pro Tools and Windows, just hold "control" down and solo the bus. The solo button will turn grey-ish, meaning it's in solo-safe mode. Now if you just want to hear the snare, for example, you just solo the snare, and you'll hear it without having to solo the bus also. Also, if...

A little late to the party here, but I have Pro Tools and don't have a problem. Maybe I'm misunderstanding. All my drum tracks are also routed to a drum bus. If I want to hear just the drums, I simply solo all the drum tracks and bus. Forgive me if I'm missing something. I always solo-safe...

In Pro Tools, I can bounce the MIDI to audio, but still keep the midi track and just make it inactive. If afterwards an edit nags at me to do, I just make the MIDI track active again, do the edit, then just re-bounce over the previous one. This is usually just with VSTs (synths, piano, etc.)...

I usually just use the CLA-76 for parallel. I also have all the Slate 1176s, the FG-Stress, FG-401, U73b, the Waves dbx-160, CLA-2A & 3A, but the CLA-76 seems to work the best for it. And it's pretty simple to use. Sorry, didn't mean to list all my comps :facepalm: They all have their uses...

Cool stuff, Armistice. Nice approach, cool writing and chord changes.