microtonal rock song

  • Thread starter Thread starter ubertar
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No need to get defensive my friend, we are trying to help you, If you dont want help you have no business being here. MS and I are being very clear and precise, you either accept what we are saying or you dont. I got a musical resume a mile long, been to the finest schools, played with half the bands on the planet. I have no reason to waste time telling you something that isnt true.
 
DavidK said:
No need to get defensive my friend, we are trying to help you, If you dont want help you have no business being here. MS and I are being very clear and precise, you either accept what we are saying or you dont. I got a musical resume a mile long, been to the finest schools, played with half the bands on the planet. I have no reason to waste time telling you something that isnt true.
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Not defensive, just a bit frustrated. It's all good. :cool:
 
ubertar, about your ears and high-frequency stuff...I'm (almost) the same. I did a hearing test once to determine how I hear compared to average Joe, and at frequencies around 12kHz and above, I was around 4-6 dB more sensitive. That explained to me why mp3's are absolutely annoying (my solution was Ogg Vorbis at www.xiph.org). Anyways, I guess I'm saying you sort of have to deal with it in creative ways. Just rolling off the highs isn't going to be very attractive. Most instruments produce transient high-pitched noise when they're plucked or hit. This gives them each their distinctive sounds, so when you cut the highs, you're making the instruments sound dull. What you (maybe) could do, is isolate the frequencies on each instrument that are giving you trouble and eq'ing them out. At least give it a try my friend. I bet you'll hear some interesting things :)

As for the bass that you don't like, it's a shame since most people will "dig" a nice thump, but I think you can get away with turning the bass down. But, if you're still in the mood to play around after you mess with the highs, try _only_ cutting the frequencies around 200Hz (play around a bit with Q settings and exact freq). Frequencies in that area seem to give songs a muddy quality in my experience.
 
Thanks Rocketman.

I didn't say I didn't like low end... I just cut some out of other things to make room for the bass. Maybe not enough if people are hearing it as muddy. Someone told me this sounded awesome through their subwoofer, so it's possible that if you guys are listening through studio monitors you're not getting the sub-bass (I'm just guessing here).

The stuff about highs and the transients on the attack is interesting. I don't know if my hearing is more sensitive than other people in the high end... I've probably lost quite a bit, and have a bit of tinnitus. But I do seem to be more sensitive to high end than most, and what you're saying seems to apply. I found a couple Wilco albums to be less than enjoyable for this reason, while other people rave about the production. I guess the key with this material is to be sure to get it mastered before I do anything serious with it. At this point I've moved on, I really don't want to remix it. EQ can only bring back what's there, so hopefully those frequencies are still hiding in there to bring up. If not, it's too late to do much about it. But I'll keep what you said in mind for future projects. Thanks for a thoughtful post.
 
Very interesting piece. I like the originality. Overall I don't find the intonation to be a problem myself, though I do think that re distortion overtones a different lead guitar sound might have fit better. But it’s pretty cool sounding none the less. :)

There's some crowding/masking in the mix, to my ear. If the lead elec gtr and especially the bass were at a lower level the more subtle parts would come through with better balance.

I also listened to Alhambra and Finn Mac Cool and thought those mixes were very well balanced.

On all the pieces there's a slightly veiled quality to the sound - a reduced clarity and depth from what IMO would be ideal... not an EQ or mp3 issue but more of an out-of-phase aspect to the sound like one gets with the filters of some multiband processors. I'd be interested in what processors were used.

Tim
 
I didn't record Finn MacCool and Alhambra-- they were each recorded in different studios by different engineers. Both were recorded to 2" tape, mixed on an analog board, and bounced to DAT. Not a whole lot of processing involved. I didn't know much about the recording process at the time, so I don't remember the details of the sessions. I remember at one studio they liked using the eventide aural exciter a lot-- Finn MacCool was recorded there, but I don't know if we used it on that or not. This was about seven or eight years ago by now.
 
Regarding the earlier mentioned EQ on the low end of tracks to make room for the bass on the TSBTS piece, what EQ plugin or hardware was used?

Tim
 
I use samplitude 8. I may have used a parametric eq plug (I'd have to check to see the maker) or just the one on the samplitude mixing board. It's been a year since I recorded this, so it's not so fresh in my mind. I may have used maxxbass to get some sub-bass stuff happening, but I don't remember.
 
Stuff I could definetly fall asleep to at night!

I don't know if that's a good thing or bad thing though. ;)
 
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