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Broken Man
#1
Did the remix while finding my feet with the Cubase Pro 10 upgrade. Wish I'd done the upgrade 8 years ago Big Grin

I'd like to have a bash at making some backing vocals with the new Vari3 engine and explore some harmonies, but I need a break. I found this to be quite a problematic arrangement.


.m4a    BrokenMan-s28CU10-MonkReMix.m4a --  (Download: 10.87 MB)


"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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#2
Cool trick with the last line! I really liked the sound and arrangement of the choruses. Drums might be a little too loud in the second and third, making the track look a little emptier than it is, but we're talking decimals here. Really dig it.

The last vocal "delay" line (you know, the "never come"s, "come and gone/undone"?s) in the first refrain (the one by the lead) are the only thing I'd revisit in an otherwise very interesting, very personal approach (it made me fancy watching "Gravity"). I can't tell if it's because the line is one too many, or maybe it's it being cleaner and more present than the inmediate previous repetition (the one sang by the BVs), or maybe all it needs is some stronger reverb.


I'm not so sure with the verses, thou. Too light against the dense refrains, I understand you're looking for contrast but the verses end up feeling... undercooked? (like too much tension release might be no better than no releasing at all) and then kinda too manipulated at the same time (chopping the beat in the second verse might get overdone after the first stop and dropping the piano in the middle eight feels too drastic, but then it's debatable if it makes sense to judge arrangement choices, since the expected audiences shouldn't know the raws like we do here).
What I think one can tell wheter you know or not the insides of the track, is that the choruses sound better in general, with punch and gravitas the verses have not, like it was 2 mixes edited together, if that makes sense to you?
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#3
really cool...
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#4
(13-03-2019, 04:44 PM)Deliza Wrote: Cool trick with the last line! I really liked the sound and arrangement of the choruses. Drums might be a little too loud in the second and third, making the track look a little emptier than it is, but we're talking decimals here. Really dig it.

The final placement came from feel rather than a logical or more traditional balance with the other elements. Lower fader settings just didn't do it for me. I wanted more vamp and drive compared with the first section too, which was intentionally lower so I had something in reserve for contrast and energy.

Quote:The last vocal "delay" line (you know, the "never come"s, "come and gone/undone"?s) in the first refrain (the one by the lead) are the only thing I'd revisit in an otherwise very interesting, very personal approach (it made me fancy watching "Gravity"). I can't tell if it's because the line is one too many, or maybe it's it being cleaner and more present than the inmediate previous repetition (the one sang by the BVs), or maybe all it needs is some stronger reverb.

It's too exposed as it is and you are right to call it. The second section works much better and is more inkeeping with what I was looking for. All that could go anyway, depending on how the harmonies come out, if I ever get there. I'll probably explore that feature set on another project later. If the vocal tracking had been better, I'd have pushed further on at the time.

Quote:I'm not so sure with the verses, thou.

I'm sure. Tongue Bjork does a splendid job delivering the sort of contrast I was looking for (by way of example out there in the commercial world), with her cover of Betty Hutton’s “It’s Oh So Quiet” which was a cover of Horst Winters’ more conservative approach.

Harry (Horst) Winter - Und jetzt ist es still (1948)
https://youtu.be/6zmhvJpTELc

Thanks for listening and taking the time to share your thoughts and quality observations.


"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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#5
Ah, having the 1940's German Franco Battiato for reference gives you extra points!
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