To Sam Rawfers SpedeMix

[Spede]

Hello. I couldn't resist doing a version out of this one! I guess this mix belongs to the same canon of "creative and super dynamic" mixes I've done lately. I guess not everybody might like this approach I've taken.

I didn't add anything "new" (drum samples etc.), but simply worked with what I was given here. Getting the bottom end right was really tricky on this one. I guess these dissonant low ends are part of the charm in this kind of music (you can certainly hear similar traits in albums such as Björk's Homogenic). I ended up sidechain-dynamic-EQ:ing the organ track in such way that every time the bass plays something, the organ loses low end.

(EDIT: Added the version 3 to this first post which I'd consider the "definitive" version)

[Mike Senior]

I guess this mix belongs to the same canon of "creative and super dynamic" mixes I've done lately. I guess not everybody might like this approach I've taken.

I like what you've done a lot, personally. You've definitely tapped into the general sentiment of the lyric and made a lot of very appropriate decisions. You've taken liberties, but exciting ones -- love the way you drop the bass at the end, and removing the kalimba during the opening verse makes good sense too. (I wonder whether you should have put the re-entry somewhere else, though, because it dilutes the entry of the snare a little for me where it is.)

Overall I really like all the creative effects use, and it's interesting that you mention Homogenic, because that was a big influence on my listening at the time I did this arrangement (although the harmonies here are more inspired by various Shostakovich passacaglias), so everything you've done is very much after my own heart, although in a very different style from the kind I'd instinctively go for -- it's more vibey, but less clear, although that's not meant to be a criticism, because it's a cool effect.

Getting the bottom end right was really tricky on this one. I guess these dissonant low ends are part of the charm in this kind of music (you can certainly hear similar traits in albums such as Björk's Homogenic). I ended up sidechain-dynamic-EQ:ing the organ track in such way that every time the bass plays something, the organ loses low end.

That's a good idea, and something I couldn't really do myself on the system I used for the preview mix. I had to filter out some of the organ low end, I seem to remember, but it's more impressive the way you've done it! And, just as importantly, I can still hear the bass melody clearly so that the harmonic tension remains undiluted.

My only criticism might be that some of the backing vocals feel a bit underplayed at times -- maybe a bit more automation to bring them up in the gaps would be nice. I particularly notice this in the second chorus where "destroys his soul" (3:10), "what a way to go" (3:18), and "the seraphic glow" (3:26) feel a bit underpowered.

The more I hear that bass drop at 3:30, the more I'm gutted I didn't think of that -- an inspired decision! I guess we all need a fresh set of ears... Thanks for posting!

[Mike Senior]

One small thing: are there are couple of bass notes changed in the choruses? I keep stumbling over them -- they always seem wrong to me, but that might just be because I'm so used to the original version. The original idea was deliberately to keep the Bb of the main riff static throughout, even while subtly changing some of the other intermediate notes, in order to create a dissonance across the whole song that didn't properly let up until the outro. So changing the pedal notes feels like it's dissipating the tension somehow -- almost like I'm copping out!

[Voelund]

One small thing: are there are couple of bass notes changed in the choruses? I keep stumbling over them -- they always seem wrong to me, but that might just be because I'm so used to the original version. The original idea was deliberately to keep the Bb of the main riff static throughout, even while subtly changing some of the other intermediate notes, in order to create a dissonance across the whole song that didn't properly let up until the outro. So changing the pedal notes feels like it's dissipating the tension somehow -- almost like I'm copping out!

If thats the case you are not alone. Recordin a friends band some years ago I heard a bass note when editing the tracks, that were absolutely dissonant and substituted it with the "right" one, only to be told to redo it when my friend heard it, as the song were written that way.

[Voelund]

Now Ive had a chance to listen to it. Very good mix. Whatever basnotes you may have changed your version is very well made and sounds fantastic. I wish I could mix like that. If you changed the basnote Mike mention at 3.30 to somthin that sound like a half diminished chord to me its very well spotted and a great detail.

Excellent work !

[Spede]

Overall I really like all the creative effects use, and it's interesting that you mention Homogenic, because that was a big influence on my listening at the time I did this arrangement (although the harmonies here are more inspired by various Shostakovich passacaglias),

Let's just say that I'm going through my Homogenic phase right now; I've probably referred it quite many times in this forum (not necessarily by name). That album is basically the reason why I'm doing these kind of mixes currently

so everything you've done is very much after my own heart, although in a very different style from the kind I'd instinctively go for -- it's more vibey, but less clear, although that's not meant to be a criticism, because it's a cool effect.

The initial mix that I made was little bit muddier in the bottom end (with no SC-filtering), but after hearing the preview mix I was impressed by the clean(er) bottom end on that one. So this "different take on stuff" goes both ways

That's a good idea, and something I couldn't really do myself on the system I used for the preview mix. I had to filter out some of the organ low end, I seem to remember.

So what kind of system did you mix this on? You mentioned on another thread that used a Roland VP9000 as a sampler. And apparently a VS2480 (mentioned in "about this multitrack"). Did you run some of the samplers live during mixdown or rendered everything to the 24-track? I have never touched a hardware sampler (went straight to using Pro Tools as my first DAW in 2005) so these workflows are an enigma to me.

My only criticism might be that some of the backing vocals feel a bit underplayed at times -- maybe a bit more automation to bring them up in the gaps would be nice. I particularly notice this in the second chorus where "destroys his soul" (3:10), "what a way to go" (3:18), and "the seraphic glow" (3:26) feel a bit underpowered.

It seems I focused so much on the low that I didn't do any rides on the backing vocals initially. I lifted some spots for the v3 (at least the ones you mentioned).

One small thing: are there are couple of bass notes changed in the choruses? I keep stumbling over them -- they always seem wrong to me, but that might just be because I'm so used to the original version. The original idea was deliberately to keep the Bb of the main riff static throughout, even while subtly changing some of the other intermediate notes, in order to create a dissonance across the whole song that didn't properly let up until the outro. So changing the pedal notes feels like it's dissipating the tension somehow -- almost like I'm copping out!

Yeah, I retuned some of the notes out of fear and lack of understanding . This kind of approach is yet so unfamiliar territory to me; I guess I come from a school of extremely conforming harmonies. I changed the bass back to original to respect the approach.


So yeah, here's a revised version based on the comments I received here. Thanks for the feedback!

[bmullen]

Fantastic