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Kevin Walsh

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Kevin Walsh last won the day on December 28 2018

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About Kevin Walsh

  • Birthday 05/11/1957

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  1. Thanks for listening and commenting, glad you enjoyed it! My wife has long since learned not to ask me how I record stuff, her eyes glaze over after about fifteen seconds of jibber jabber. If I recall (it's been a while) I recorded on whatever version of Cakewalk Sonar was current in 2015. Sonar X3 maybe? For instruments I used a 2005 American Strat and a 2004 Indonesia Epiphone Sheraton into various Guitar Rig 5 presets. To update things I re-recorded the intro lead guitar using the Sheraton into a Tonex Marshall profile I grabbed on ToneNet somewhere. The bass was a 2013 American Precision Bass direct into a Guitar Rig 5 bass preset called "DI". For synths I used Z3+2A for a few patches and for the hammond keys patches. I'm not very good at cobbling together synth sounds. All keys parts were hand-programmed using the PRV. I typically use a separate reverb bus and a delay bus. These days for the reverb bus I use a Valhalla plugin but back then I used the Rematrix convolution reverb plug in in the pro channel. For delay bus I used and still use the Cakewalk Sonitus delay. I love that thing. I put prochannel eq high pass filters on both busses. I'll typically route lead vocal bus and bg bus vocals into both delay and reverb bus and adjust send gain to taste. For guitars I put sends on individual guitar tracks rather than on busses. I also add a reverb send on the drum buss too but easy does it there. I may have put some mild compression on the various busses. For mastering I used Ozone 7 I think, and used some vintage presets to get a nice old-school sound. I'm a big preset guy, mostly because I don't know what I'm doing and I couldn't hear the difference if I did. I may have used the Ozone tape emulator on the master, or maybe the pro-channel tape emulator. I love those but if you go crazy with them things can get pretty noisy. The hardest part was getting the drums to sound right. I use Addictive Drums 2 using a vintage dry patch or a Fairfax patch (can't remember which one right now) with canned midi tracks that get pretty heavily monkeyed with by the time I'm done. I put a pro channel tube driver with some nice saturation on the drum buss to smooth things out and I put an ozone vintage limiter on the bass/drum buss to squish them together. All vocals and acoustic guitar (an old Martin D16GX, a 2000 model I think) were mic'ed with a Microphone Parts T-12 mic I built from a kit. Awesome LDC mic that has a nice old school sound and pretty cheap too. That's about it I think. Thanks again, I'm really encouraged by the great comments here!
  2. I agree with @freddyj, it's got a great '60s feel to it that could easily fit into a pop or even Motown format with ease. The mix sounds good even in my crappy bluetooth hearing aid buds, and that takes some doing. I very much like the chords, lyrics and the arrangement. They keep my interest, and the performances are first rate. Nice tele sound in the solo. Well done!
  3. Thanks. Makke, for taking the time to listen ans comment!
  4. Thanks, Lynn, your feedback is always appreciated!
  5. Really good song with outstanding performances! Loved the video too.
  6. Kevin Walsh

    The Gull.

    Lovely little suite, here, looking forward to part 2. The gull sounds were very good indeed.
  7. Great mix for a good song with excellent guitar tone and playing. Sadly, they don't make them like this anymore, glad you're still doing it!
  8. I'm responding because you quoted my post. He's suggesting (or someone suggested somewhere) that your guitars sound somewhat isolated and that ambient reverb can help. Adding a reverb to a single track will have the reverb being panned along with your signal. To fix that, don't use a track-based reverb plug in, use a bus-based plug in that will spread the reverb across the sound scape regardless of where you have the individual instruments panned. To that, create a new stereo bus, name it reverb. Then add a reverb plugin (or use the pro-channel Re-Matrix Solo plugin) and set the mix to 100%. Then go to your guitar track and go to the Sends box and add a send, then select the reverb bus. You can adjust how much of your guitar signal to send. This has the advantage of being a stereo reverb and you can eq the reverb signal without monkeying with your guitar tone, and it creates a nice fill of sound to your track. Adjust the reverb bus slider or the individual sends to control the level of reverb. You can also do sends for multiple or even all your guitars to that one reverb bus, or even (like I do) send drums, guitars and vocals to the reverb bus to get everything to sound like the instruments are all in the same room. I do the same thing with delays and vocals.
  9. Killer cover! JP days are a fuzzy distant memory for me, but the ones I do remember are fond ones. I too am a closet cover maker but I don't have the guts to post them, mostly because they are nowhere near as good as this.
  10. Thank you for listening and thank you for your comments!
  11. If this was something I had done it would be the final mix, and I would quit playing because I could never do anything better than this again. This sounds fantastic. As always the playing is wonderful. I can't wait to hear the final.
  12. Kevin Walsh


    Hey freddy, I think you nailed the sound that you were after. You have a very cool voice and it sits in this song perfectly.
  13. Hey larry, nice job on the new mix! There's a real sense of spaciousness in the new mix and everything sits together more cohesively. Step by step right? By the way, ambient reggae is a new genre to me. I like it.
  14. I don't have a clue how you did this but I sure like it. Sounds great to me!
  15. I'm no professional, but I think the mix sounds pretty good. You've done a really nice job here. Look forward to a cut with the vocals in it.
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