chrisharris :
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Thanks for the insightful review.
This has been a very, challenging mix for me because it is right at my current level of sophistication as a mixing engineer. I'm dealing with four elements. Vocal, acoustic guitar, violin and the four string sections.
Long overdue direct thanks going out to that big nasty dragon whose website we call HOMErecording.com , thanks dragon, you are a true pioneer, your seed is sown into the fabric of the net further than you may know sir
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Yes, the original take is only her vocal and guitar. I have the original, raw, resource tracks, they were extremely nominal, very poor levels.
When you hear the REAL string 'orchestra' tracks, they will be less lush, but much, much more beautifully musical. They are super lush right now, because I am learning to disguise samples, even continuous and lengthy use of samples, by using all manner of complicated combinations of reverb and carefully crafting levels beat by beat to duck in and out of her vocal levels.
I feel like if I had all the Miroslav string samples, and all the Sonic Implants good stuff, I could work up to a level where I could fool anybody. But when you A+B samples against real strings, it is always apparent as to which are the real strings ... now ... if you mix the best samples with good real strings ... now there's some hot shit !
I did use a very small amount of 'Mastering Reverb' and I think I will use a tiny touch more. But ... the artist is very, very sensitive to the use of reverb as she is intent on portraying what her vocal sounds like live. She is an active performer and does not want a 'studio voice'. She wants her fans to hear what they will hear live. I think it's a sound business practice, and I am honoring that.
Her live voice is very, very close to what you are hearing. She is a 'powerful' alto who ventures into a medium weight soprano. She has an edge on her voice that her fans adore, and I dare not lose that completely. Dealing effectively with her 'edge' is the art in this mix I am convinced.
Thus, it is extremely difficult to get a good 'mix', while retaining her comparitively dry and edge vocal. I am going to listen to some 'Ryan Adams', thanks for pointing to that artist, and I think I hear that 'rough and higher' violin you are talking about.
How I mixed the vocal :
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I made a clone of her vocal track and ran it through the soundforge 'smooth-enhance' filter at 3 units smooth. The 'smoothed' vocal leads, and the natural, super-dry vocal is mixed at about 40% of the volume as the smooth track. When her vocal levels peak ... as Ghost later says at around the 800Hz range ... she peaks really, really hard there. It's almost as if there is a burr in her voice, and that very well may be part of her tradmark sound developing. Those peaks shoot up into the smoothed track. Then I use several submixes of the vocal, adding compression along the way on each, and finally using both 'Mastering Compression' and some light touch of 'Mastering Reverb' on the bus that hosts the final mixdown.
I may now add an additional touch of reverb on the final file as I export. You'll have to coach me on that 'special Harris vocal reverb potion'.
I think it's the best 128kbps MP3 I've ever mixed, and it will still find some subtle improvement.
The vocal track was nominal and I had to boost the track a lot, therefore the vocal peaks came up the most ... as I said, it's been a real challenging mix.
Yes, the piece is in C, and you are absolutely right, the 7th of C, Bb, is totally off limits for the violin solo. I use B and Bb as a pivot throughout the string orchestration, so I don't touch it in the solo.
As to what role the violin has here, I must support here, it's a cameo only. She is the star, this is our first piece together. But I think I know more about what YOU want
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I find it very gratifying that one of the best reviewers on the board, and one of our best songwriter's and musicians was fooled for one split second by my sample work ... oh what glee ! But I do have a psychological thing going on here, in that I actually play the instruments ... so I can be a sneaky bitch eh ? LOL !
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The Ghost of FM :
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The cello was also samples with a big load of tweaking, just wait till you hear the real cello !
Yes, this vocal is kicking my ass, it is a big challenge. I've got to get some feedback from her before I add any more wet to her vocal.
Thanks for listening closely to the bottom end. Just before the final bounce, I increased the cello track about 1/2 decibel just for good measure, and I'm glad I did. Thanks for keeping up with me.
I know you are a busy man right now during the holidays, and I wish you many, many big sales ! After the holidays, I will be expecting your attentions and feedback for the tracks I develop for 'Toronto, Toronto', the song is really growing on me, I find myself stopping off at odd websites to read about Toronto, it's a very unique part of the world ... ahem ... with very ecclectic people, reserved and mannerful ... but still freaky enough for my tastes !
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jonplugged :
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The only thing that can persuade me to 'lower the vocal', which is the same as raising the backing track, is fan response, she has to hear it from her fans, and they adore her voice, so it's not likely ... but I hear you. I did add some small room verb to her voice, and there is a touch of 'Mastering Reverb' added to the final mix. You should have heard it before I added any verb, and mixed wet and dry vocal tracks of her 'smoothed' and dry. Ryan Adams would be running for the water fountain ! Thanks for the listening.
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gascap :
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Your studio is in my dreams ! Make them come true !
Oh yes, a good song makes it easy, but then of course the pressure is really on to make an even better performance. It's a lovely song, sung by a lovely lady.
I like the reference to eggshells, I have never felt 'trepidation' in a mix, I feel it here.
I have been sorely tempted to add some fills before the solo, but that's not our agreement, I'll have to get her confidence before I do that. She has a third CD recently released, so she's a very important collaborateur. She's the boss right now, and she and I are planning on performing in Austin.
Amelia is providing very little direction except for a final ... 'yeah it sounds good'. Amelia wants to remain a songwriter and artist and not spend very much energy on technical production, and I don't blame her.
I will be recording our SXSW live performance, it will get posted no matter how it turns out ... maybe under a different screen name ?
Thanks for the listen my fellow fiddler.
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lynx :
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Your humility will serve you well, namaste ! Yes it's a sweet song. Thanks for the listening.