PhonoBrainer

Original as funk cello! I could hear a live band having a good go at this. I liked the guitar leads as well, tasty. cheers, - Tom

How about fixing the link in the OP? It seems to link right back to this very page.

Way good. Brought back some memories of "Barcelona Tribe of Soulsters" or B-Tribe as they were known. Before your time! Super clear mix, with things out front when they should be. Well done! cheers, -Tom

Cool groove, would love to hear it with her vocals! Once you get those, could you post it? Those are some cool chords and uptempo RnB feel. You might allow for a second, or a half second, of space right at the very beginning of the track, otherwise the piano jumps right on top of you. cheers, -Tom

I've beano waiting for this. It gets tiresome recording my own.

It won't load before 10:30 in the morning and the GUI swipes right.

Dude your tasty licks and bends are top shelf. Hopefully better health is on the way. cheers, -Tom

Fun! It sounds like A) your pinnas are not as old or as fat as mine - the 280's earcups rest on top of my pinnas, crushing them into submission, and thus whatever benefits in "isolation" you might be getting, I lose completely, because all I can hear is the earcup rubbing on my pinnas as I move my head! For me, the 380's completely surround my ear and that's all the isolation I really want. You sound like you work in a much more acoustically particular fashion when tracking than I do - which is fine! I bet your stuff sounds good. But I would never be concerned with pick noise coming off the strings while I'm laying something down. Just different. Glad you like the 280's ! I'm not 100% in love with the 380's for mixing, I know I'm getting some details smeared - but I just don't want to go buy the best Sennheisers for $800 or whatever. cheers, -Tom

Well, just to be contrarian, I have used both Sennheiser hd280 and 380pro, have used both for tracking and mixing, and I much prefer the 380 . . . of course the 380's have much bigger and more forgiving earcups, for the fat-eared bretheren out there, such as myself. I think the 280's underwent a redesign a year or so ago, fwiw. And I like the better bass response in the 380's, because if you have bass-light headphones, you have no idea how it translates onto proper systems. You can't mix bass frequencies if you can't hear them, and you won't hear most of them in headphones, anyway. So the 380's get you a little closer. But I agree, the 380's have decent detail but it's still a $200 headphone. Well, I have no idea about Sonarworks - and I'm willing to bet there are better mixing headphones out there at some pretty prices. Better detail, too. cheers, -Tom

For me, that floaty dreamy guitar patch really sounds good. And the composition is just about as cool mellow as you can get. Nice combo! Certianly worthy of the title. The drum fills are very well thought out, but unless it's a fill, I'd drop the volume of the snare (and the sidestick?) just a bit. It really seems that the snare pokes out of your mix. If you like that snare volume, maybe a little more reverb on the snare? In your lead synth part towards the end, the snare is lower in volume and has copious reverb. But in the parts with dreamy guitar, the snare is kind of loud and dry. Your mileage may vary, as they say. Bass guitar? well, your mix has a really nice "clean" quality, which maybe could do with a little more weight on the bass guitar - perhaps add back in some eq around 150 - 200hz? The bass tone has a lot of upper mids, and it cuts through great. You could afford a little more bass weight down low, and still keep a clean mix. Might be something to try, if you are monitoring on something other than headphones. cheers, and great track, dude. -Tom

OK it's heavy, which honestly is not my forte but I still liked it. So I will offer a ridiculous idea: in the section where you are trading between the two chords (like in the 2:00 area) you have a ringy snare? or tom? on the second and fourth beat. It is very much a pitched snare with a ring at a particular pitch. The pitch totally works for the second chord, but it's quite off pitch for the first chord. I bet with some fancy pitch shifting of it onto another track, you could pitch the snare right in tune with the key of the first chord. Or if the drums are virtual, just create instance #2 and pitch that snare up for the first chord. But that would be totally ridiculous! Did that make any sense? probably not. The main things is the vocals (gutturally great), the guitar lines in the lead (very cool) and the nifty drum fills. And that wall of guitars at the end, I wanted that to keep going. Very strong. cheers gents, -Tom

I could certainly see an orchestra taking this on, so all you need is about 45 more minuets in four or so movements. Nice ideas. cheers, -Tom

Definitely has a cool noire swagger. Or rouge. Mix wise it was all very up front, for me each instrument is right up in the old face. My old face, anyway. Yet the vocals are delivered very well indeed, and are super clear. I may have made a similar comment on another song before? Everything is on the dry side. So it's all sort of up front that way. It's a mixing style and I'm not saying it doesn't work. Maybe my brain us just used to some smoky jazzy depth of field in a song such as this. As for the song itself, I think it's killer. Nice arrangement with a great vocal! I did notice towards the end, with the lead guitar solo, the drums drop out and are very hard to hear, but they are still there. Maybe don't lose so much of that snare when the lead guitar is soloing? I dunno. These are only suggestions, and you probably have an entirely different aesthetic on reverb and depth than I do. Still some awesome work on this, I appreciated getting to hear it. In contrast, you have a wood block thing getting hit on beat two, of almost every measure, and it is swamped in reverb. And of course, that would be something I'd want you to drop out ocassionally. So, go figure. Your saxes are very sweetly played, top quality lines. But they are so dry, have you put some room on them? They would sound sweet if they dripped with rvb, you'd put decent pre-delay on them so the attack shines through clearly. I'm thinking late 80's Dire Straits-type mix, "City of New Orleans" type stuff. Which you would probably not dig at all! I listened several times - cool tune, and your vocal gave me a Bobby Darin kind of vibe in spots. Really nicely done. cheers, -Tom

I like how the drums are panned on those fills. And the programming? is pretty good as well. You might stick all the drums on a bus and treat them to the same reverb space? And I'd say, snare louder in the chorus. Great vocal lines and delivery. If you listen in any given spot in your tune, those acoustic rhythm guitars seem loudest in the mix. I think you should tuck the volume down on those guitars, and let the lead instrument cut through more, be it voice, lead guitar, what have you. When they synths are in the lead, they are very much so - great mix on those! 100 extra points for coolness and originality. Those pics in the video, was that you on stage? cheers, -Tom

amiller - many thanks for the listen! SPAK - I made even more moves on the piano, and hopefully didn't take steps backwards. Thanks again! Galiteri Paul - glad you enjoyed the listen, thanks again . . . Gary Brun - good ideas, I tried to work on it and hopefully didn't polish the turd too much! Thanks! JMaar - Thanks you so much for the education on YMO. Glad I didn't know them when I was going to college, I might never have made it through. Too much fun! I liked their disco stuff the best. Glad to know them, thanks! Lynn - we are brothers then, because this kind of groove stuff clears my head, too. The Empty-Headed Brothers - yet another awesome band name. Appreciate the listen and the feedback.

I don't think the mix is bad, I just think absolutely everything is too dry. Like you really took it to heart when you read the admonition "don't use too much reverb" - so that is personal taste, of course, but I think your mix basically is great! What about one reverb on the master bus (something I've never done myself) and put everybody in a medium-sized room, with ample pre-delay, and hpf below 500hz? Yeah, personal taste, I know. Great tune, great bounce, awesome vocals, really listenable arrangement choices! I think the mix is just dry, that's all. Interesting - usually the issue is a reverb swamp! Not here. cheers, -Tom

Your song from the 90's - I've got those, too! Ah, the classics. Love your vocals. The guitar flanged out has got a tuning issue, unless you want it really psychadelic, in which case, you are there. More importantly, you seem to be a consistently good songwriter, I don't remember hearing any duds. Nice job! cheers, -Tom

Hey Lone Wolf! Sing this in a bar and the young lady wolves will . . . basically . . . rip you to pieces, that's what they'd do. So, nevermind! Great bluuuues tune, vocal is mixed well - I can tell you dialed the slapback back a skosh, well done. Sounds great. Guitars well played as per your usual. cheers, -Tom

Well this is very listenable. You might pull back on that intro distorted guitar just a hair. Really awesome mix, vocals are awash in a reverb dream, yet very distinct. Killer. I think you have contrasted the smooth stuff and the rough stuff very well. I agree with Gary, there are spots where you could bring up the percussion. Is it the same level throughout the song? Why not punch it, or program in some more fills / variation? Super vocals. Nice doubling, panning, rvb, delay - they are awesome. You might want to fix the spelling on "subscribe" . . . cheers, -Tom

Chill and cool swirly stuff with a dash of India? Nice one.

Maybe fade in the rain sounds a little more slowly in the very beginning? Love those vocals, the delay lines are very tasty indeed. Maybe make them a little louder relative to that very pristine guitar? When are the drums coming in? Maybe they are not! Bass note @ 1:52 comes in early? I dunno. Those different lead tones towards the end are a great add. Holy Hannah, those vocal blends are killer diller. Dig the ending, nice sustain chord choice. That was awesone. cheers, -Tom

You might double the snare with some hand claps or something, to brighten it? I agree it could be driving this thing just a bit more. It's a cool jam, and all the performances are very solid. Nice arrangement, the parts all work. Cool composition. I'd say your battle is in the drum mix. What are you using for drums? cheers, -Tom

SPAK - thanks, and good call on the piano, I had another whack at it. More predelay helps it cut through a little better. John B, thanks for the listen, and yes - I don't travel much myself so I was trying to in this song. Pathetic, probably! John Maar, many thanks indeed! I will check out YMO - what is that acronym standing for these days? And yes, the .wav is hellishly better. More resolution when you crank it up . . . Cookie J - cool, glad you liked it . . . made a video for it . . .

Cool song and the video is like a free trip to London. Very cool. cheers, -Tom

The guitars are a great blend of distortion and clarity. I was bobbing my head to the riff. Lyrics are fun. Mix is pretty darn clean overall. When the little "percolating" guitar comes in around 1:20, I'm not sure it's in sync. It tightens up great, right on the beat by 1:40. Maybe it's the delay that's weirding me out a little there. This whole song is just heavy fun! cheers, -Tom