What an outstanding project this was to work on! Hats off to the band for developing this tune. All four Perpetual Escape tunes were a pleasure to work on.
Even if I had known of the competition last summer, I don't know that I could've made the cut-off date. Three weeks were spent reviewing my various mixes on all platforms available to me, including my iPhone and iPad. What to do with 16 guitar tracks mic'd 4 ways so that it doesn't all blend together into a lot of mud?
The drummer's got toms and cymbals out the ying-yang, which are all used masterfully. Choir tracks and 9 background vocals tracks in a rock song blew me away. Don't lose the bass or acoustic guitar under everything else going on. So, yeah, 15 mixes were tried and I think this is the best I could produce. Maybe the lead guitars near the end are a little too "present", but I kept the rhythm guitars, bass, and drums right up there the best I could. Five different electric guitar buses were created to get some tonal variation and space. There's some parallel compression on the drums, and they get bused to another track to crush and add just a touch of that sound. For the bass guitar, I chose a progressive "edge" amp and kept the compression to 4:1 so it stayed alive and dynamic. There's some panning automation on the lead vocals to keep them forward and identifiable, not washing over each other.
I'd appreciate any and all comments.
Even if I had known of the competition last summer, I don't know that I could've made the cut-off date. Three weeks were spent reviewing my various mixes on all platforms available to me, including my iPhone and iPad. What to do with 16 guitar tracks mic'd 4 ways so that it doesn't all blend together into a lot of mud?
The drummer's got toms and cymbals out the ying-yang, which are all used masterfully. Choir tracks and 9 background vocals tracks in a rock song blew me away. Don't lose the bass or acoustic guitar under everything else going on. So, yeah, 15 mixes were tried and I think this is the best I could produce. Maybe the lead guitars near the end are a little too "present", but I kept the rhythm guitars, bass, and drums right up there the best I could. Five different electric guitar buses were created to get some tonal variation and space. There's some parallel compression on the drums, and they get bused to another track to crush and add just a touch of that sound. For the bass guitar, I chose a progressive "edge" amp and kept the compression to 4:1 so it stayed alive and dynamic. There's some panning automation on the lead vocals to keep them forward and identifiable, not washing over each other.I'd appreciate any and all comments.
Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.