20-11-2014, 06:11 AM
Thanks for the listen, talbot.
I tried high passing, and I did end up rolling off up to about 300Hz, until it felt like the kit fell apart and it was just cymbals. I was really trying to approach the drums as one instrument in this mix (truthfully, something I've been working on as a general philosophy lately) and, to me, it starts with the overhead sounds.
As you said it's subjective, but let me give you my reasoning. You said it feels angsty, and I was actually going for that idea. The line "I wonder what she's doing now" says to me this is a song of lament, so I wanted the vocals to feel close to each other, almost a "I'm talking to myself, reminiscing on great times, but the happiness I'm feeling is actually just a sad rememberance." Hence, Picasso's blue period reference.
Taking it as a love song I totally agree with you, but I wanted some feeling of claustrophobia. (The grit on the 2nd guitar was also a choice)
Thanks for taking the time to listen and respond, it means a lot.
I tried high passing, and I did end up rolling off up to about 300Hz, until it felt like the kit fell apart and it was just cymbals. I was really trying to approach the drums as one instrument in this mix (truthfully, something I've been working on as a general philosophy lately) and, to me, it starts with the overhead sounds.
As you said it's subjective, but let me give you my reasoning. You said it feels angsty, and I was actually going for that idea. The line "I wonder what she's doing now" says to me this is a song of lament, so I wanted the vocals to feel close to each other, almost a "I'm talking to myself, reminiscing on great times, but the happiness I'm feeling is actually just a sad rememberance." Hence, Picasso's blue period reference.
Taking it as a love song I totally agree with you, but I wanted some feeling of claustrophobia. (The grit on the 2nd guitar was also a choice)
Thanks for taking the time to listen and respond, it means a lot.