kcearl
I see deaf people
Ach I never listened to the second version sorry mate..
Ach I never listened to the second version sorry mate..
dobro
Well-known member
I think it still applies. ha
robgreen
no face
Man, I hope you don't strip this one down to much in the final cut. For me, it's all about the hypnotic groove that the guitar parts and bass settle into. Where it's locked in, it sounds great.
The bits I'd work on are mainly around that arpeggiated acoustic line. Once it settles down it's really good, but the descent in the early part of the pattern (around the 1.24-ish mark) just sounds a bit busy to me. The pattern's the right length, but I'd cut a note or two out of that bit and let a couple of the notes ring out a bit more. I dunno, I can hear clearly in my head how it sounds like it should be, but it's hard to translate into words!
The acoustic line is also louder than everything else in the arrangement. Maybe it could come down a gnat's hair?
Finally, I listened on both speakers and phones. On phones that opening electric line sounds like it's panned too hard. It resolves a bit when the counter melody comes through the other speaker with the acoustic, but still too far over I think.
As I say, love the groove when it's locked in and cool lyrics. You've got a definite sound, but like Heat says, it's a surprise where you take it each time. To paraphrase John Peel's description of the Fall - "dobro, always the same, always different"
The bits I'd work on are mainly around that arpeggiated acoustic line. Once it settles down it's really good, but the descent in the early part of the pattern (around the 1.24-ish mark) just sounds a bit busy to me. The pattern's the right length, but I'd cut a note or two out of that bit and let a couple of the notes ring out a bit more. I dunno, I can hear clearly in my head how it sounds like it should be, but it's hard to translate into words!
The acoustic line is also louder than everything else in the arrangement. Maybe it could come down a gnat's hair?
Finally, I listened on both speakers and phones. On phones that opening electric line sounds like it's panned too hard. It resolves a bit when the counter melody comes through the other speaker with the acoustic, but still too far over I think.
As I say, love the groove when it's locked in and cool lyrics. You've got a definite sound, but like Heat says, it's a surprise where you take it each time. To paraphrase John Peel's description of the Fall - "dobro, always the same, always different"
dobro
Well-known member
Wow. You took some pains with that. I appreciate it. It usually takes me forever to mix stuff and find what it needs. You've saved me some steps for sure. Kind words too. Thanks.
fritsthegirl
Taste of home
Oh man. How do you come up with these sorts of lines?
If you want a different view
Just make a hole out of you
into another world.
That is pretty clever.
And everything else after that falls into place. The guitars getting all lost in each other I think suits the song & lyrics. Unfortunately I preferred the first mix, except the volume (or perhaps the blowiness) of the flute. Is that a real flute? But what do I know? 2nd mix still sounds great.
If you want a different view
Just make a hole out of you
into another world.
That is pretty clever.
And everything else after that falls into place. The guitars getting all lost in each other I think suits the song & lyrics. Unfortunately I preferred the first mix, except the volume (or perhaps the blowiness) of the flute. Is that a real flute? But what do I know? 2nd mix still sounds great.
dobro
Well-known member
Well, if you know you're a hole already, it's not a stretch at all.
Thanks for the listen and yeah, the flutes need to come way down. There are about eight of them, after all. Yeah, they're real flutes. Or rather, one flute played lots of times.
P
paw1
New member
For the second version I'd bump up the arpeggiated guitar that starts with the song a little. At least until the second guitar enters. Sounds good!
dobro
Well-known member
It's not unfortunate. I hear you. But anytime someone says 'leave it out' you know you have to honor that in some way.
There's a guy called Mike Senior who's all into dramatic arrangements for tunes. He's British, was raised on Shakespeare, and can't help himself anymore than I can. He recommends a structure that b-u-i-l-d-stowards the climactic ending. I don't always go for the climactic ending, but that building business is sound advice.
I esteem Mike Senior's advice. I esteem your own. I hear both tunes.
robgreen
no face
All part of the MP3 clinic platinum feedback package
You are subscribed to the platinum package aren't you? Should probably have checked this detail first...
rpm61
Person of interest
Good song, I like it a lot. My *opinions* and not to drive you nuts but I loved the triplets in the beginning too. I like all of the parts and think they do work and the busy-ness can be fixed when you mix. I can hear this with those guitar parts playing their roles, panned in stereo with some nice reverb placement and some movement in the right spots, they seem to have distinct roles to me, and the melodic parts play off one and other well. I don't like the hard left pan on the one part, it's counterpart on the right doesn't seem to balance it, but that's my taste I rarely like hard panned items.
The triplets along with the panned left guitar have a hypnotic "other-worldly" feel that really works great with your song. I would prefer a more defined bass, and something to raise the energy in the chorus like more harmony and a twist in the percussion, something to bring it out.
Really cool song, I just don't see any of the parts as overkill and think they can all get along great in the right mix.
The triplets along with the panned left guitar have a hypnotic "other-worldly" feel that really works great with your song. I would prefer a more defined bass, and something to raise the energy in the chorus like more harmony and a twist in the percussion, something to bring it out.
Really cool song, I just don't see any of the parts as overkill and think they can all get along great in the right mix.
dobro
Well-known member
I got good feedback on this one, so I cut something, added some percussion, tweaked the vocal bigtime and I'm still not there. Nudging it home.
Anders Erisian
XLIII
Hey dobro, I listened to the very first and the current version, and the last one definitely sounded a lot more polished to me. Mostly seemed to be in the panning of the acoustic guitars, the spacing seemed to fill the soundstage more completely, and i liked the balance better. Everything seemed a bit warmer, a bit less harsh brightness. What were the major tweaks on the vocal? It sounded a bit fuller in the bottom end, and what sounded like layered harmony on the 'another world' phrase was more prominent, but couldn't pick much else.
Surely there can't be much nudging left for this, sounded great to me. Listened to both versions pretty loud, both in nearfield and from just outside my shack with doors and windows open and it sounded good in both situations. The tonal textures of all the instruments really complimented each other well to my ear, nothing sounded the same or fought for space. I loled at worldth within worldth and wheelth within wheelth, not at you but with you, that track i posted recently i heard Venuth a couple of times and was surprised no-one mentioned that. Don't mind that lispy sound though, it's a bit oddball
What happened to your avatar, smiling buddha becomes....?
Surely there can't be much nudging left for this, sounded great to me. Listened to both versions pretty loud, both in nearfield and from just outside my shack with doors and windows open and it sounded good in both situations. The tonal textures of all the instruments really complimented each other well to my ear, nothing sounded the same or fought for space. I loled at worldth within worldth and wheelth within wheelth, not at you but with you, that track i posted recently i heard Venuth a couple of times and was surprised no-one mentioned that. Don't mind that lispy sound though, it's a bit oddball
What happened to your avatar, smiling buddha becomes....?
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dobro
Well-known member
Thanks for the response, AE - that was useful.
I axed this guitar part that came in over on the right, and getting rid of it seemed to clear things up. I mean, how many guitars does a song need to make its point?
I don't know how it happened, but I hadn't dealt with vocal levels at any level of detail. So last night I was cutting the level by up to 2 or even 3 dB in places. Yikes. How'd I miss that the first time through?
It's really close, yeah. Time to stop boring people here with it. Listening to it after I put it up here, I wanted to tweak some of the bass level and wanted to do some parallel compression on some of the percussion to bring out some of the lighter hits more. (Damn, I love djembe. Baooom!)
Thanks. I appreciate the legwork.
Really? You're hearing 'th' on those? Hm...I'm not hearing that, exactly. Anybody else hearing that? I don't even have a compressor on that vocal.
I axed this guitar part that came in over on the right, and getting rid of it seemed to clear things up. I mean, how many guitars does a song need to make its point?
I don't know how it happened, but I hadn't dealt with vocal levels at any level of detail. So last night I was cutting the level by up to 2 or even 3 dB in places. Yikes. How'd I miss that the first time through?
It's really close, yeah. Time to stop boring people here with it. Listening to it after I put it up here, I wanted to tweak some of the bass level and wanted to do some parallel compression on some of the percussion to bring out some of the lighter hits more. (Damn, I love djembe. Baooom!)
Thanks. I appreciate the legwork.
Really? You're hearing 'th' on those? Hm...I'm not hearing that, exactly. Anybody else hearing that? I don't even have a compressor on that vocal.
robgreen
no face
The new percussion sounds much tighter and suits the song better - like for example, it's a lot tighter around the flute part. I'd forgotten that flute line came in and it's pretty delightful when it makes its appearance.
I didn't pick up on any lithping on worlds/wheels. I can hear something rhythmic that sound a bit like a bike pump right panned on the offbeat between 2.20 and 2.30 though - is it just fret noise maybe?
Sounds to me like you're pretty much there doblarone
I didn't pick up on any lithping on worlds/wheels. I can hear something rhythmic that sound a bit like a bike pump right panned on the offbeat between 2.20 and 2.30 though - is it just fret noise maybe?
Sounds to me like you're pretty much there doblarone
Anders Erisian
XLIII
Thought there was a guitar cut out. I agree it seemed to not need it. I know what you mean about the endless desire to retweak, and hearing things you'd missed every time you listen, wasn't suggesting you should stop, i just thought it sounded pretty good where you had it, and only you know when you are happy with it at the end of the day...or the next millenium for that matter.
Yeah bring the djembe up, i thought some of the light hits were too light. Got a friend who plays darabukka and other metal goblet drums and i'm going to be doing some collaboration and recording with him in the coming weeks. Love that sound, more Spaang! than baooomm! though
Maybe i was just listening too closely and was thinking about sibilance in my own stuff and sort of imagined that lispiness, i just assumed it was in the way you sung it as opposed to any compression artifact. As i said maybe i was just focused on that after mucking around with de-essing and automating out sibilance, and it wasn't even a minor distraction really, just an offhanded remark.
I was in and out of the place anyway, and was doing a bit of mechanical work out the front of my place while i was listening too, so there was no extra special leg work put in to get the perspective.
Yeah bring the djembe up, i thought some of the light hits were too light. Got a friend who plays darabukka and other metal goblet drums and i'm going to be doing some collaboration and recording with him in the coming weeks. Love that sound, more Spaang! than baooomm! though
Maybe i was just listening too closely and was thinking about sibilance in my own stuff and sort of imagined that lispiness, i just assumed it was in the way you sung it as opposed to any compression artifact. As i said maybe i was just focused on that after mucking around with de-essing and automating out sibilance, and it wasn't even a minor distraction really, just an offhanded remark.
I was in and out of the place anyway, and was doing a bit of mechanical work out the front of my place while i was listening too, so there was no extra special leg work put in to get the perspective.
K
K-dub
Well-known member
Okay ... just throwing this out there ... when you've got a lot of the same timbres all playing at once, it just becomes confusing for the ear to piece out exactly what's going on ... which creates a "jumble" to the listener. It doesn't matter if it's guitar or tuba, too similar a sound playing in the same sonic spectrum mashes all together to the point where the ear no longer can pick out the individual parts in the jumble of sound.
What I'd do is take the parts that are being played on guitar and turn them into a different voicings. You've got a nice counterpoint going, but the sounds are all too close in flavor. I'd add more flavors to the sound.
THAT said, P, it was still and enjoyable listen.
What I'd do is take the parts that are being played on guitar and turn them into a different voicings. You've got a nice counterpoint going, but the sounds are all too close in flavor. I'd add more flavors to the sound.
THAT said, P, it was still and enjoyable listen.
dobro
Well-known member
Yeah, I understand the 'jumble' effect - it's what I was aiming at. I want a sound that expresses a feeling of being dazed. I want a moonstone, not a diamond. Having said that, I can separate the sounds a bit more to see what it sounds like. Thanks, Kevin.
GONZO-X
Well-known member
a nice mellow tune,
i like the way it builds up,
as if yearning to get there, but not in a hurry.
i like the richness on the vocal capture,
sometimes wished for a little sibilence on certain words/lines.
i read some comments about crowding the frequencies of similar instruments:
i think your panning works to separate the 'similar' voiced instruments...
there is enough room to put them even more together,
you just have to focus on the shared FREQUENCIES and shelve one or the other,
to make room for them both, so they create one large full spread of tone.
this mix (approach) reminds me of tbone's approach with some of plant's more recent stuff.
i like the way it builds up,
as if yearning to get there, but not in a hurry.
i like the richness on the vocal capture,
sometimes wished for a little sibilence on certain words/lines.
i read some comments about crowding the frequencies of similar instruments:
i think your panning works to separate the 'similar' voiced instruments...
there is enough room to put them even more together,
you just have to focus on the shared FREQUENCIES and shelve one or the other,
to make room for them both, so they create one large full spread of tone.
this mix (approach) reminds me of tbone's approach with some of plant's more recent stuff.
dobro
Well-known member
Thank you.