10-08-2014, 11:39 PM
I love your ideas... using compression to add attitude and snarl. Love the distortion on the vocals and the liberal use of FX on the arps. It's way too hot for me, though... a little exhausting, even when I turn the volume down. The bridge vocals could be a bit more present, but I love the telephone effect afterward, briefly considered that myself.
Why can I hear the dog whistle in your mix and bmullens when only my dog could hear it when I was trying to figure out what weird reason they'd included it (FYI, it's been suggested to me that it was probably a joke)?
Just briefly... I'm a Spike Stent fan myself and referenced one of his mixes while working on this track. I hear echoes of his style in your work... lots of parallel distortion, and maybe you used his technique of running a vocal track through several separate parallel compressors in varying amounts? It would explain some of the cool tonal effects I'm hearing.
Good work and great ideas/creativity... but I'd dial the master compression down a good bit.
Why can I hear the dog whistle in your mix and bmullens when only my dog could hear it when I was trying to figure out what weird reason they'd included it (FYI, it's been suggested to me that it was probably a joke)?
Just briefly... I'm a Spike Stent fan myself and referenced one of his mixes while working on this track. I hear echoes of his style in your work... lots of parallel distortion, and maybe you used his technique of running a vocal track through several separate parallel compressors in varying amounts? It would explain some of the cool tonal effects I'm hearing.
Good work and great ideas/creativity... but I'd dial the master compression down a good bit.
I'm grateful for comments and suggestions. Thank you for listening!