First a word from our sponsor. So right now I’m working with three different local guitarists/artists and a great on line collaboration site, all of which I met through bandmix. Regardless of how the end product from each will come out, hopefully decent, I couldn’t possibly any more musically active. Tuesdays it Scott’s psychedelic, Wednesdays and Sundays, Ben’s progressive and Fridays alternate rock with Mike. Yeah what a rip off this site is, what the hell am I going to do on Monday, Thursday and Saturday?
So we had an excellent session yesterday, productive, laid down a few decent tracks and still had time to jam. Great playing Scott, that was a lot of fun.
Some excellent advice folks, thanks for taking the time to give a listen and some thoughtful input. During our session, we discussed the following changes: My next steps will be to chop off the beginning. It sets up the wrong vibe that just gets interrupted by the abrupt change. The only transitions I could think of is if Scott maybe did a climb or dive on the guitar to carry the end of one over into the beginning of the next, or some sort of synth sweep/swell. I’m not optimistic about how that would come out, since they are so different and it would take a lot of effort to get it right, assuming it goes over at all. It’s quirky as hell and I don’t know if I love it or hate it, also gtZip’s point about the hook. Without the intro, it happens much sooner in the song. We can always use that beginning intro idea later on something that carries the same mood.
I’m going to take the bottom off the padding, try to make it transparent and send the bass a little lower to see if it accents the vocals better. If I go the other way with the padding by adding bottom, I’m worried it will be adding too much mud to an already very wet mix. Although eventually I’ll probably ending up trying both directions to compare. It’s not critical to the song and if it adds a lot of clarity I might just chop it out. The tune has a lot of carry over from the reverb, so the padding may not be necessary. Which works out fine by me, when Scott is playing this one, I can take a smoke break and finish my beer.
I’m really hesitant about panning the piano right, since it will bring the bottom closer to the bass and almost over the guitar. But way left may give better separation, since those top keys won’t have any competition with anything that’s already there. Or I could widen the stereo and kill the center, I really like the symmetry having the keys center, but real wide. Scott you way jumped the gun on this man. The version Scott has up is extreme scratch. I haven’t messed much with the percussion, panning, or EQ yet.
RFLMAO Sans, drummer Steve needs to loosen up a bit. The guy is just so reserved you hardly know he’s there, doesn’t talk much either, only when I’m alone. Although it is strange that no one else can hear him.
Scott and I will be working on something similar for the main part before the chorus. The chorus will happen at least twice in the song. I agree that it’s definitely the strongest part of the tune, I love the sound of it. Do some punches on the vocal main and refine the percussion. I want to chop off the very end piano and go into a fade out on the reverb vocals/padded piano. It seems more like the logical stopping point to me, but of course that doesn’t make it artistically correct. Scott still likes the very end piano solo, so I’ll mix both versions and we’ll see how each comes across. It’s tough because I have the strong urge to try to keep things status quo and working with Scott, it’s anything but.
I couldn’t picture having any more fun doing this stuff. Thanks again folks.
