424mkIII Demo Apr'09: Lennon Blues Jam: It's So Hard

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A Reel Person

A Reel Person

It's Too Funky in Here!!!
Recorded either in Apr or May '09 on the Tascam 424mkIII. I wish I'd labelled my tapes better! Mixed on 06/26/09. Posted on 06/27/09.:eek:;)

This one has all the typical flaws I load into my recordings! It's the 2nd version of the only song I've produced to date in 2009. More maybe soon.:eek:;)

Thanx for listening! Aye!

424mkIII Demo Apr'09: Lennon Blues Jam: It's So Hard
 
Meticulously remixed and reposted on 06-27-09.

I tweaked it so many times that I think this is the definitive mix, w/gentle EQ applied at mixdown. The mix seems right in the pocket & easy on the ears, not overpeaked, strident, harsh, dull or tubby. I go mainly for an authentic natural sound in my recordings. YMMV.:eek:;)

Featuring the TEAC MC-210 stereo condenser mic, Pro Co Roadkill distortion, Squier Bullet guitar & Ibanez GSR-200 bass.

Comments are welcome, but mainly pls have fun!

Thanx as always for listening!:eek:;)
 
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A no frills, no gimmicks recording, just how I like it! Always a pleasure to listen to. :)

PS: I miss your signature SM57's sound though. :D
 
Yeah,... that!

Note: I like the mix, but might consider redubbing the final mix to my other PC or my DP-02cf. The current PC I'm working on has a tendency to limit the overall amplitude. I had to fiddle with the levels to the soundcard to get a clean recording. I'll have to play with the settings some more & see what I come up with.:eek:;)

I get different mastering results to PC (wav) depending on which PC I use, & I've not yet hooked up my Tascam FireOne, (which presumably would be a much better mixdown I/F than the stock soundcards). Not to bore you with further details.:eek:;)

The mix is there [MO], but I wanna bump the levels up without compression. Maybe another remix & repost in a moment, TBD.:eek:;)

Thanx!
 
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Gosh,... only a few minutes later & I'm back with a remix!

I've taken the previous mix from 06/27 (yesterday), I've nudged the bass up a hair and boosted the overall mix level up a couple dB.

I'll allude back to the previous point that this particular PC's soundcard is difficult to set and optimize levels. It seems to want to soft-knee limit levels below 0db in hardware. To push the peak level to 0db on this soundcard invariable results in audible distortion. The best I've found is setting the software recording level control for "3" and hardware master fader on "6", for the present mix I'm showcasing. For having remixed this tune at least a dozen times now, I think I've gotten the best I can out of the equipment I'm using at present. I think this one is the keeper.:eek:;)

Please catch my updated MP3 upload of today, 06/28/09!

I think this is the definitive mix!!! YMMV!:eek:;)
 
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...

EQ: I'm falling a little out-of-love with the "standard" EQ controls on this class of Portastudios. It's 3-band EQ with Hi/Low fixed and Mid-sweepable, so I feel the only "real" useful control is the midrange, while I avoid putting on too much Hi/Low shelving EQ for fear it may create more "mud"(low) or "haze"(hi) in the mix, rather than boosting or clarifying those frequencies in a pleasant or useful way.

HINT: I've become more endeared to the "classic" (old-style) Portastudio 2-Band/Sweepable EQ. Overall, I find 2-band/sweepable a little more utilitarian than 3-Band/Mid-Sweep. You can pinpoint the Hi and Low EQ better with the 2-band sweepable controls. (An obvious point, maybe). Maybe next time I will use the classic 244 or 246 Portastudio instead, for this very reason (TBD).

PS:... I've listened & considered backing off the midrange boost a little on all tracks, then bumping up the master level again, just a hair. That might tame the midrangi-ness a bit and add fullness. Since the 424mIII's midrange-sweep EQ gives the most control, it's the one I used most in the mix. It may be a bit too midrangey, though.

I've also considered mixing this one down off tape and playing the drum track in stereo live to the master on PC (wav).

That's another remix or round or two of tinkering with this song, all future/TBD, maybe soon!

Thanx again!
 
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Hey Dave, I was just gonna suggest some drums too. It's good that you're thinking along the same lines. YOU'RE DA MAN!:D
 
Yo, thanx! Update?

I endeavored about 8 remixes on 06/29, 06/30 and 07/01 that rendered virtually no improvement, so the 06/28 mix stands as the "definitive" mix. The EQ applied here is so subtle that removing it entirely may make only a miniscule difference, if any. News? Not news!:eek:;)

Thanx as always for listening!
 
Dave, I know your style but I'd love it if you added a bit of real tape echo to the performance.:)
 
Interesting idea. I've not thought of that, but...

I have the gear to fit all purposes, if not the time!:eek:;)

4-trackin' is so stripped and basic. I like it, but sometimes I need to scope the production upward a bit, f/i, 8-track, or 16~24-track, if u will. 4-track cassette is so economical that I see it almost as a practice medium. Nonetheless, I also feel I've created numerous gems and classics on it. It's hard when you hit a wall at 4-tracks when you finally hit a good groove,... but I guess that's what bouncing is for, which is another post.

Thx agn!:eek:;)
 
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Yup, I totally relate as to the time required. You'll be pleased to know I'm following in your "minimalist" (certainly not to be confused with inferior) footsteps as far as recording, which means strong emphasis on mic placement, performance, mixdown levels and minor EQ tweaks. End of story.

If the sound works then it works, if it doesn't, I try to better the 4 things above, which are the bread and butter of the final product, IMHO. The other stuff (reverb, compression etc....) does indeed take a lot of required time (and can work to polish a sound) but does not break a song, if without it. If it sounds good raw, then it'll sound good regardless and it'll maybe give it that certain vibe which is missing from today's commercial recordings, which is authenticity.
 
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