I'm more a fan of putting modern twists on old styles than reproducing them faithfully - I think some of the interest comes in interpreting the old idea in a new way. The main critique I have is that I'd like to hear more of the bassline - it feels a little light in that area of the spectrum. Other than that, damn good.
I've had good bass response with most systems that I've played this on, even though most of the doghouse seems to be in the super-low freq of the mix, of course and may be getting lost on smaller speakers. Thanks for letting me know, what is your monitoring set up like? (for the sake of my own notes and comparison)
I get plenty of bass - mainly bottom end and no real definition - it's occasionally subsumed by the bass drum.
All your own vocal with no pitch shift? Wow, cool. You do a great job of it but it does sound a little like a sex role change movie soundtrack - Lemon & Curtis like.
I REALLY would love this in mono.
The extreme stereo as used by the Beatles in theor early afterthought stereo mixes is REALLY hard to listen to - it may be historically accurate but iit was never sonically good.
The room verb is good if that's all it is. Just what's needed to stack tracks into a wall of sound.
Please consider mixing in mono even if just as an experiment.
Everything is so drowned in reverb that it's kind of a mush-----I liked the lead guitar. Fit the song well
the song was tracked in this space :
Thanks robgreen! I concur with your "New Dogs / Old tricks" thinking, it's made for really interesting, great records! .
The Bass is a 1955 American Standard (that became KAY) "doghouse" acoustic, with a Shure beta 52 on the F hole and I *might* have set up an A/T in the room, trying to remember. I've had good bass response with most systems that I've played this on, even though most of the doghouse seems to be in the super-low freq of the mix, of course and may be getting lost on smaller speakers. Thanks for letting me know, what is your monitoring set up like? (for the sake of my own notes and comparison)
I just noticed that at some point recently I must have accidentally knocked the bass knob on my amp and it was all the way down on the lowest setting.
No reverb was used in the making of this feature (with thee exception of a little amp echo on the overly distorted combo that re-amped Jeanie's vox), the rest is natural from instrument/room mics
the song was tracked in this space :
I'm really digging this one. If you were aiming at a lowfi retro sound, you definitely got it in that quadrant. I'd be really interested to hear this one mixed in a more modern way, though, just to compare. (I think I'd prefer the way you did it here, but I'd like to hear the A/B anyway.) Are the raw tracks unaffected, or did you record it that way?