The_Metallurgist mixes Enda Reillys Cur An Long Ag Seol

[The_Metallurgist]

I came to similar conclusions about my ability to correct the tracking difficulties. I don't blame Enda Reilly, though... we do what we can with what we've got and what we can afford.

naturally concur. i actually enjoyed the technical challenges though, but i must admit to feeling deflated at having to compromise whether for my own shortcomings or the material i'm working with, or both, but i gave it my best shot.

Mostly I came by to offer a few ideas/thought experiments on a challenging situation. Right now I'm considering the idea of intentional comb filtering and tonal reverbs (although that's pretty much intentional comb filtering too, eh?) to see what I can do to keep a little more brilliance in the guitar/mandolins. The acoustic guitar bleed is pretty problematic in this regard...

yes, there's some traps to help make it that bit more interesting. the problem with reverb is that it hangs around too long and clutters up the sonic field, especially where the terrain in the HF zone is happening with some really fast transients. but full respect for having a bash at it and trying out a few things. even if you don't succeed, you will have picked up some knowledge on the way....and growth is good.

Violins are a pretty scratchy too, huh? Kinda like there wasn't enough rosen on the bows. Though that suits that style I think.

a fiddle has a different action to a violin, the body is less and the outcome quite tinny in comparison. because there's less resonance and a much shorter decay from the body, the action is presented that much faster and really suits Celtic music and similar genres. my approach was to drop them back in the mix and let the ambiance do it's thing, along with some legitimate EQ'ing to support the depth perspective - less HF's. for good, fast fiddle action, it needs a dynamic mic attached to the body pointing down to the strings. anything else just won't cut it...you get too much room otherwise. another important point from the fiddler's perspective, is the need to move around and engage with the vibrancy of the music. only an attached mic enables this, of course.

you probably don't have any reference material hanging around of this genre, but it's fascinating stuff. i watched a televised production recently, of a live radio broadcast of top Celtic acts, one of which was a band i've followed casually over the last 2 decades - Capercaille (the name of a Scottish grouse now heading towards it's second extinction up in the Highlands). the female vocalist is something very special. all the mikes used in the broadcast were SM57's - ideal for stings in or out of the studio.

Something about the method of tracking suggests to me that this wasn't intended to be a pristine, polished sounding song, but more of a minstrel-style.

i share your suspicion. it's all a bit too casual on the miking front and room selection. i'd love to get hold of some decent tracking though, and put it through the mill. i think i might find the emotions of joy difficult to contain

when you have it sorted...let me know if i haven't already spotted your post. i'd like to hear what you made of it and what your approach was. I'm working on the Butterfly Effect currently...your mix drew my interest. the good thing is that i understand the lyrics...and i actually think they are pretty cooool too !

laters...