There's a difficult patient in the clinic - please help

  • Thread starter Thread starter Garry Sharp
  • Start date Start date
Andy - thanks for listening, especially 4 times. Understand what you're saying - that version is not quite there, although the feedback here is helping it on its way. But even if I get it right the song itself is not gonna be everybody's cup of tea.

Hey Joe - where you goin' with that... oh, sorry. Anyway I put on 2lbs thanks to you. Keep your dietary advice to yourself in future :) Had a go with the fretless - lovely guitar but its 20 year old electrics are giving me problems. Might have wasted 2 hours learning that - oh well.
 
First listen. I liked it a lot. The syncopation? is good as a contrast to where it all comes together at times. I think I'd like to hear those come together parts happen just a little more since once you have those, you could do anything you want. Vocal seems to be the lead rhythm instrument holding it all down. A cool concept.
 
junplugged said:
vocal seems to be the lead rhythm instrument holding it all down. A cool concept.
Click to expand...

That's an interesting way of looking at it. The song was written for bass and vocals, the other stuff was kind of added on, so I think that's the reason for you hearing it that way. I'm taking a few days off from this one 'cos I got so close I couldn't hear it anymore, I've already recorded new bass and drum tracks but am not sure if I'm going to use them.

As always, thanx for the listen and the comments. This thread has been invaluable for me.
 
junplugged said:
Wow, maybe my ears aren't so bad after all :)
Click to expand...

Definitely a cool pair of ears :) Not just you tho' - input on this thread has been brilliant. Very grateful.
 
If you recut the bass, use 3 tracks. A DI, a line out of the head (post eq) and the mic'd cabinet.
Take the 2 di tracks, pan them hard and eq them so they sound different but still have the same weight. I don't quite know how to explain it, but if you pan them hard, the stereo image won't be lop-sided.
Take the mic'd cab track and pan it center and eq it for low end.
Mix to taste.
This might keep the bass from fighting with the vocals without pannig the whole thing off to one side. This method is also cool for slap and pop guys. It makes different notes come from different places in the stereo field.

I just listened and the vocals don't sound that bad, this must not be the mix you were originally fighting with. Everything sounds good, I would compress the guitars to keep them from juming out so much when the dynamics go up. Good job
 
Farview - yes, I think I've got that - have the mid range part of the bass sound panned so it doesn't clash with the vox, leave the lows in the centre. Cool - thanks.

I try to avoid too much compression, but take your point about the guitar tracks.

Seeing your signature about your drumagog samples - this was my first go at using Drumkit From Hell Superior. I have a lot to learn in that regard :)

Thanks for listening and a very helpful post.
 
Contrary to what most people seem to think, I thought the vox were the strongest part of the mix, the drums being the weakest part.

I'd reduce the overall room-impression of the drum kit, as it doesn't sound close-miked at all. Then I'd subgroup all the drum tracks and run them through a bit of light compression, which I've always found brings all the elements of my drum sounds together a bit more. The instruments sound like they need more appearant loudness/clarity too. I wouldn't say the vocals sound too bright on their own, just in comparison to the rest of the mix which has a vintage sound to it. Thats my two bits.
 
I've listened to this tune a couple of times now...It's growing on me. I realize the thread started out to help with a harsh vox problem but it looks like you're getting a handle on it.

The drums "bother me" for lack of a better description. Sometimes they seem tight and "pop" while at other times they seem to fade and loose their snap. Sometime during the shuffle, it sounds more like a fluffle. Putting a little more high definition in the snare and a little compression but not too much. I'd have to play with this for awhile if it were mine.

Off the subject a little...the harmony to me in this tune has an open sound to it. It's just my taste but I'm feelin a reoccurring loose/casual splash of trumpet and alto sax sort of thing filling in the spaces....a Miles Davis-ish 60's night club thing to add a little fill and to take the open harmony thing even futher.

Sorry I went off track a little bit there. One thing for sure...the vocalist does have lovely voice. I dig the tune.
 
marquardt and punkin - I think you're right about the drums needing more compression. The DFHS samples are completely untreated, and I have virtually no compression on them as it stands. To be honest I am still completely undecided about the drum track itself, and whether its timing is pushing the boundaries of randomness too far. I have put down a tighter version, need to A/B the two I think, although I am in serious danger of disappearing up my own backside on this :)

As punkin says there is room for a bit more on this track - I can hear a piano but I do take your point. My keyboard skills are simply not up to it, but I'm hoping for a contribution from elsewhere. Anyway, the immediate purpose of this track is to go on a demo to get gigs at certain London restaurant type venues which have an appetite for quirky jazz leaning stuff.

Thanks again for the input - this thread is so helpful.

Garry
 
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