Yeah, it's too soaked in spring reverb. I was looking for a Hawaiian tone because of the extremely laid back and pleasant vibe of the tune, but it'd probably feel better if dobro shared space properties with electric guitar, since they are panned the same and take turns. Good point.
Funny thing is, to nail that 50's sound, I think you ought use even more plugins than usual. If you check out the tracks from the StreetNoise songs, you can see how much different every part sounds compared to what we're used to nowadays, which is neutral and much more upfront (and those are middle 70's recordings, so not even close). Bass guitar, for example, didn't have a lot of bottom end, and there was no harshness at all generally speaking. I guess it was a combination of extremely coloured gear every step of the chain, distant mic positioning (more ribbon mics, maybe?), and of course almost no multitracking so everything was done at recording time (I guess if you have 2-track machines and final mixes were mono, you could do some overdubbing, but we're still talking of an almost alien workflow). Besides, it was rare to use more than one or two mics for drums back then. Virtual console and hissy tape emulators aside (which I'd use beyond insane), ducking compression on everything and grainy plate reverb plus slap tape, that's what I think it'd take to get close.
Anyway, hoping you do it, K. Thanks for your opinion!
Funny thing is, to nail that 50's sound, I think you ought use even more plugins than usual. If you check out the tracks from the StreetNoise songs, you can see how much different every part sounds compared to what we're used to nowadays, which is neutral and much more upfront (and those are middle 70's recordings, so not even close). Bass guitar, for example, didn't have a lot of bottom end, and there was no harshness at all generally speaking. I guess it was a combination of extremely coloured gear every step of the chain, distant mic positioning (more ribbon mics, maybe?), and of course almost no multitracking so everything was done at recording time (I guess if you have 2-track machines and final mixes were mono, you could do some overdubbing, but we're still talking of an almost alien workflow). Besides, it was rare to use more than one or two mics for drums back then. Virtual console and hissy tape emulators aside (which I'd use beyond insane), ducking compression on everything and grainy plate reverb plus slap tape, that's what I think it'd take to get close.
Anyway, hoping you do it, K. Thanks for your opinion!