11-03-2014, 10:47 PM
Perhaps sending the vocal signal to the sidechain of a very mild compressor on the guitar could allow the two to weave in and out of one another the way you've attempted. Sometimes a barely noticeable stereo chorus/flange/phase can free up some real estate for the vocal, but there's a potential mono compatibility issue there unless you do a lot of precision EQ, which may or may not be worth it. It's a tough thing to do when the vocal track isn't recorded under ideal conditions, which is a small studio reality, so the sidechain compressor is probably the best bet.
Or you could sacrifice an upfront guitar sound for something wetter and a little quieter, which is a more classic tack.
I wouldn't go TOO crazy on the bass because in the analog tape days, your frequency cutoff is around 40 Hz, so I'm not sure it would suit the track. Voelund's room has a lot of corners, too, so consistency in the very low frequency ranges might take a lot of extra processing if it's possible at all, and the potential for undesirable artifacts is pretty high in those situations, although I automatically high passed the entire mix at 40 Hz so I'm really not sure. If an aggressive, modern sound is what your going for though, sub bass is necessary and if consistency is an issue on non-ideal listening equipment, dynamic EQ or frequency selective compression is usually the way to go.
Mr. Ardelli avoids extraneous processsing and has a great talent for balance, which is usually a pretty good idea in my opinion, especially on a track recorded in not the best of rooms, so he'd probably be the one to ask about any sort of processing dodge if you want to take a similar approach
.
Or you could sacrifice an upfront guitar sound for something wetter and a little quieter, which is a more classic tack.
I wouldn't go TOO crazy on the bass because in the analog tape days, your frequency cutoff is around 40 Hz, so I'm not sure it would suit the track. Voelund's room has a lot of corners, too, so consistency in the very low frequency ranges might take a lot of extra processing if it's possible at all, and the potential for undesirable artifacts is pretty high in those situations, although I automatically high passed the entire mix at 40 Hz so I'm really not sure. If an aggressive, modern sound is what your going for though, sub bass is necessary and if consistency is an issue on non-ideal listening equipment, dynamic EQ or frequency selective compression is usually the way to go.
Mr. Ardelli avoids extraneous processsing and has a great talent for balance, which is usually a pretty good idea in my opinion, especially on a track recorded in not the best of rooms, so he'd probably be the one to ask about any sort of processing dodge if you want to take a similar approach
.
I'm grateful for comments and suggestions. Thank you for listening!