A Very Silly Cover Song

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Supercreep

Supercreep

Lizard People
It was our first project with our new gear and we didn't want to "ruin" one of our own songs in the process. The drums, I know they sound terrible etc.... And the vocals are a little pitchy too. We aren't going to put this on the record and after all y'all are the only ones that'll hear it, so here goes:

I Only Want to be With You

http://www.nowhereradio.com/lpc/singles
 
I think this is a good recording. The drums aren't great, but they aren't horrible. The guitars sound a lot louder in the right speaker. I really like it for some reason. I think it's the vocals. You don't hear too many people execute power pop that well anymore.
 
Supercreep said:
It was our first project with our new gear and we didn't want to "ruin" one of our own songs in the process. The drums, I know they sound terrible etc.... And the vocals are a little pitchy too. We aren't going to put this on the record and after all y'all are the only ones that'll hear it, so here goes:

I Only Want to be With You

http://www.nowhereradio.com/lpc/singles
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I`m listening as I write, first of all the vox are awsome.
You really sing like a "Prog-Rockstar" :D
overall I think the recording is good, I`ve heard you`re drums better before, but its not bad.

Its funny when you told about the aproach for this recording with the new gear and all.
and not wanting to spoil your own song, and make the debut on a cover tune.
We took the same aproach when we got ours, we did a version of Bad Comapny`s Simple man, but thats another story :D

again I have to say Hats of to you guys..
I`m very fond of your music. :)
 
Yeah this is way cool :D Man, you guys can really sing. Just love the vocals.

Then there's the cool little sfx/snyth sound in there around :37, and is that tambourine I hear in there at points? That always adds to a catchy piece IMO.

The guitar sound is good too, chunky along with the bass, but nice and clean in the chorus. The snare does sound a bit thin to me. Fun song to listen to though! Good job, I give your new equipment the Snake's thumbs up (a snake has thumbs, huH?)
 
That's a very cool version of that song, it is a little bit like The Tourists version, but you've put your own style on it, great singing and chorus.
 
Well, at first I thought it was going to be that Hootie & the Blowfish song, so at least it's not that. :D

Interesting take. I like the raw drum sound. Very classic. Maybe turn the kick down a tad and bring up the bass line.
 
Man, you guys are just too cool. Very good job on this. Drums aren't as bad as you say. Not your best drum sound, but not bad at all. You could clean it up in a heartbeat. Good job on the tune. True to the original, yet you injected some of your own personality in it. Nice.
ED
 
Mr songwriter said:
That's a very cool version of that song, it is a little bit like The Tourists version, but you've put your own style on it, great singing and chorus.
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You get rep points for knowing about the Tourists. That's the only other cover of this song I've heard, and I thought it very obscure indeed. In the Garden, isn't it?

Thanks for the listen.

-Casey
 
Dogman said:
Man, you guys are just too cool. Very good job on this. Drums aren't as bad as you say. Not your best drum sound, but not bad at all. You could clean it up in a heartbeat. Good job on the tune. True to the original, yet you injected some of your own personality in it. Nice.
ED
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Thanks, Ed.

We didn't really know what hell we were doing with recording drums at the time (and we only know a little more, now). This is an example of how NOT to place Overheads. The cymbals sound harsh, with a very non-musical white noise sound and the hi-hats just sound weird as hell. But I think the song has a good, fun energy to it.
 
Infectious excitement to the raw sound of it. I think the vocals are actually some of your best... nice vibrato on the held tones. The instrumental tracks are very good (except for that damn whistling thing on the left at :40 or so :D ), and yeah the cymbals & snare are a little bright, but it goes with the party atmosphere of the tune. Maybe touch up the 1 in 30 vox pitches that are a little flat with some gentle autotune, Perhaps a little less limiting on the mix also. What kind of final limiting was done on the track? .

Tim
 
I hate guys that can hit high C in their chest voice and sound that good. :)

I like this a lot, I think it suffers just a little from Hardpan's Disease™, and the drums could be kickier in their EQ (high mids are a little over emphasized). Other than that, plenty of fun under the sun!

Very enjoyable cut!
 
Timothy Lawler said:
Infectious excitement to the raw sound of it. I think the vocals are actually some of your best... nice vibrato on the held tones. The instrumental tracks are very good (except for that damn whistling thing on the left at :40 or so :D ), and yeah the cymbals & snare are a little bright, but it goes with the party atmosphere of the tune. Maybe touch up the 1 in 30 vox pitches that are a little flat with some gentle autotune, Perhaps a little less limiting on the mix also. What kind of final limiting was done on the track? .

Tim
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To be frank, Tim, we have no idea how to use autotune if we wanted to. Steve and I are like primitive cavemen with audio equipment... We are just learning as we go along. We are using a sonitus "peak limiter" that I thought was pretty transparent - won't backing it off just make the mix generally quieter? :confused:
 
Supercreep said:
You get rep points for knowing about the Tourists. That's the only other cover of this song I've heard, and I thought it very obscure indeed. In the Garden, isn't it?

Thanks for the listen.

-Casey
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If that's the name of the album it was on, I don't know, I only the song fom the single. I don't appear to be give out rep.
 
Mr songwriter said:
If that's the name of the album it was on, I don't know, I only the song fom the single. I don't appear to be give out rep.
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Don't worry about giving me rep points, I'm decidedly undeserving of the ones I have. I think the Tourists put out that one record only. (For people who have no idea what I'm talking about, The Tourists were a teen uk group that included a very young singer named Anne Lennox.) There were a couple of really good songs on the record like "The Lonliest Man in the World" and "Caveman Head". I bought it when I was really into Eurythmics when I was like fifteen. /curious/Do you still have the single? What is on the B side?
 
sounds good to me. Those hats and cymbals flying around pretty strong over the rest of the kit just a bit much.
 
Supercreep said:
To be frank, Tim, we have no idea how to use autotune if we wanted to. Steve and I are like primitive cavemen with audio equipment... We are just learning as we go along. We are using a sonitus "peak limiter" that I thought was pretty transparent - won't backing it off just make the mix generally quieter? :confused:
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Well being audio cavemen is maybe the best approach because it makes one rely on musicianship and real-in-the-room sound for recording quality. :D

I've heard autotune used mildly on spots where intonation was just a little off on fairly long tones - where I couldn't really tell it was there. If I was a singer, I think I'd use it on tracks where the feel of the performance justified cheating a little - I mean isn't compression and verb really cheating in the same sense?

As far as the mix sounding to me like it's hit too hard with the limiter... I'm not hearing squashing of the "sound envelope" dynamics, or pumping and the like, so in that sense it's pretty transparent... guess it's just that the overall level doesn't seem to change with the density or activity of the parts and it's got just a little of that glassy quality that I've come to associate with aggressive limiting.

None the less, I'm enjoying the tune. It's a very good performance.

Tim
 
....crazy kids....... :D
Everything I've heard from you guys leaves me with a crazy Cheshire grin for days......that's all I'm qualified to say.......
Cool stuff....thanks!
:cool:
 
Timothy Lawler said:
Well being audio cavemen is maybe the best approach because it makes one rely on musicianship and real-in-the-room sound for recording quality. :D

I've heard autotune used mildly on spots where intonation was just a little off on fairly long tones - where I couldn't really tell it was there. If I was a singer, I think I'd use it on tracks where the feel of the performance justified cheating a little - I mean isn't compression and verb really cheating in the same sense?

As far as the mix sounding to me like it's hit too hard with the limiter... I'm not hearing squashing of the "sound envelope" dynamics, or pumping and the like, so in that sense it's pretty transparent... guess it's just that the overall level doesn't seem to change with the density or activity of the parts and it's got just a little of that glassy quality that I've come to associate with aggressive limiting.

None the less, I'm enjoying the tune. It's a very good performance.

Tim
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I'm going to have to listen carefully for it. You can be sure Incanus and I will be trying some different things now - we didn't hear that. As our next project is going to include all manner of distorted guitars that's something I want to be aware of. Would a "better" limiter make a significant difference, in your opinion? Or is lack of expertise the critical component here? Not for this song specifically, because it's just a fling - but for our music in general?
 
Supercreep said:
Would a "better" limiter make a significant difference, in your opinion? Or is lack of expertise the critical component here? Not for this song specifically, because it's just a fling - but for our music in general?
Click to expand...
Well, this is the first mix I've heard from LPC that sounded heavily limited. If you do want to do aggressive limiting on some things I think if you had a limiter like the Waves L2 you could do it without getting the glassy quality I was hearing. And to be honest, probably what I'm hearing as glassy limiting is affected by the brightness of the cymbals and snare. With less costly limiters you can get good results sometimes by putting 2 or 3 of them in sequence with just a little peak gain reduction with each. But still I think you'll get better results by relying on track processing and balancing, then limit just a little bit after that. Your other mixes have sounded like that's what you guys usually do. :) I just listened for comparison to Radio, Pictures of You, and What You Were Meant to Be. In the more intense sections of each there are still some natural dynamic contrasts - especially the vocal line getting louder with rises in pitch and vice versa.

About dynamic control with compression and limiting, sometimes I visualize a tune's sonority as a 3 dimensional geometric shape that's constantly changing in different ways... pulsing in different spots, expanding or contracting in whole or parts, changing colors in different areas of the figure as the whole thing rotates and moves around in front of me. And the best way I can think of to verbalize what I hear when a limiter is applied is that the geometric shape's surfaces get covered with a coating that keeps the pulsing and shape-changing somewhat contained... so the whole thing can get a little larger without it bumping into things in the room as it pulses and moves. In over-limiting, the geometric shape's surfaces get covered with thick glass plates that allow it to be made larger still but don't allow any pulsing or shape changing. [Twilight Zone music here]

Tim
 
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