Erin. another song i recorded.

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Erin. another song i recorded.

Postby collide » Tue Oct 18, 2011 3:46 pm

so, yeh. it's called "Erin".

http://www.myspace.com/stevefudge

I posted an earlier version of this one, but recorded way worse,
so this is closer to how I want the song laid out.

hope you enjoy, and as always, constructive feedback is appreciated.

: D
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby Christian LeBlanc » Thu Oct 20, 2011 2:22 pm

I'll throw in my two cents soon, I just need a chance to sit down with it. Looking forward to it, though!
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Re: Erin. another song i recorded.

Postby collide » Fri Oct 21, 2011 12:32 pm

cool beans!
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby Christian LeBlanc » Sat Oct 22, 2011 4:54 pm

O-tay, let's see! Same caveat from me as always, that is - I have no idea what I'm talking about and no business giving advice.

All I can say is that the vocals sound confined, like they're only sticking to a few notes; a bit more range would sound nice. I don't mean go crazy gliding up and down the scales or anything, but there's a lot more room for expression here (in particular, in finishing-spots such as 1:00 - 1:03). Try playing your vocal melody out on your guitar, and see if you agree with me or not; if you do, try noodling around with the guitar and see if what you come up with would work as a vocal variation.

2:12 - 2:25 sounds like a great spot for a solo melody, or a sample, anything to fill it in (although it sounds to me like you're leaving room for that purpose anyway).

Keep up the jams, man!
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Re: Erin. another song i recorded.

Postby collide » Sat Oct 22, 2011 9:05 pm

thanks again for the feedback, christian!

i'm not sure how to go about noodling a vocal melody on the guitbox, but it's certainly worth a try.
do you mean to say that maybe that would sound good along with the lyrics, or separate?
and you nailed it. the silent spot in the middle was intended to have a little melody thingy at some point, should
i get to writing one i like for that part.
sometimes i wish i played keyboard.
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Sun Oct 23, 2011 11:50 am

Loved it.

Not to contradict what Christian said but I don't fully agree with his assessment of the vocals. At least before the break. I like that the melody stays put and uses the root of the chord to anchor itself. Then when the guitar drops down to C, the vocal climbs to the 3rd then goes up to the 5th before the chord drops to the G on it's way back to D. It creates contrast and I think it's well placed.

As for the break... It goes into some kind of Bm thing that I don't understand because there's nothing else to support it. I'm not saying that chords should change but I think there should be more to validate their existence.

After the break I'd like to hear the song shift a bit dynamically, which may be what Christian was hinting to earlier but I don't think the first of the song should change at all. You need to start low enough to give yourself something to climb towards.

All in all, I'll say this: Great song.
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Re: Erin. another song i recorded.

Postby collide » Sun Oct 23, 2011 12:03 pm

Thanks very much, Math!

So, you think the Bm thingy part sounds out of place, or is there just not enough? it is quite a short spot, and only used once.
what i was doing there was trying to deviate a bit from the main riff before the muted chord part comes in again.

as for dynamics, i'm guessing you mean bringing more sound as opposed to a tempo change? maybe another instrument or something?

either way, thanks again. I truly appreciate the feedback! : D

i get excited when people make suggestions, especially when it's something i may not have noticed, or thought of trying.
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Sun Oct 23, 2011 12:19 pm

collide wrote:Thanks very much, Math!

So, you think the Bm thingy part sounds out of place, or is there just not enough? it is quite a short spot, and only used once.
what i was doing there was trying to deviate a bit from the main riff before the muted chord part comes in again.

It only sounds out of place in context. If this was something I was producing I'd tell the artist to justify it's existence or else it's just arbitrary.

collide wrote:as for dynamics, i'm guessing you mean bringing more sound as opposed to a tempo change? maybe another instrument or something?

Right, no tempo change. Law of conservation of energy applies in physics and in music. If you hold the tempo steady, then that energy you would release by raising the tempo now has to find another outlet, in this case power would be a suitable replacement. So more instruments would be one way to go, I'd also look at adding a bit more excitement to the vocal melody at that point to see if that gets you to where you want to go.


collide wrote:i get excited when people make suggestions, especially when it's something i may not have noticed, or thought of trying.


In the end it's all subjective. I'll give you suggestions but you need to use your ears and your gut to choose which is right for you.
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Re: Erin. another song i recorded.

Postby collide » Sun Oct 23, 2011 2:07 pm

Mathieu Benoit wrote:
In the end it's all subjective. I'll give you suggestions but you need to use your ears and your gut to choose which is right for you.


I wholeheartedly agree! Ultimately, it's whether I like it or not for the finalized versions of any of these. This is helping me greatly to learn
methods and opinions that may get me a better sound that I enjoy way more. Doing my hiphop thing was easier. My beats were very simple
for the most part, and all I worried about was vocals, because to me, the lyrics were the most important part. Even a shitty beat with good
lyrics and flow are enough for me.

With this, though, If I'm not in love with every part, I don't want it. I'm new to recording and mixing instruments together, and this is fun experience.
finding out what others would do doesn't mean I'm going to, but it gives me things to try and see if I like them.

back to my Bm... (teehee):
It is there for a reason, but maybe not the best reason. I'm using it as a transition to bring back the muted part like at the start of the song.
when I play right into the mute, it sounds abrupt and out of place, but when I do this, it takes me out of the riff and I can go wherever I want.
In this case, it's to start over. Maybe if I make a little ditty over it that carries through the muted part. I wanted a melody in there anyway... hrmmm....

Thanks again dude! constructive feedback is gold!
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby macrae11 » Sun Oct 23, 2011 3:48 pm

Been meaning to post all week, but haven't had the time to sit down and think about things. I'll just speak to things that I have some measure of experience on which is mostly the technical side of things.

With the acoustic guitar the first thing I heard was the tuning. Tuning is a very personal thing, and one which I'm quite sensitive too, especially when doubling parts. A single acoustic has a bit of leeway, but the more guitars you layer the more critical tuning is. I get the feeling that if there was only one guitar it wouldn't bother me so much, but it's getting a little chorus-y with the double. There are so many factors with this, especially when it comes to acoustic guitars. Intonation is a big one, which is something you're usually stuck with because for an acoustic the only way to really correct the intonation is to take it to a shop for some minor surgery, not like an electric which has individual saddles to adjust. So oftentimes a tuner is irrelevant, you have to use your ears. A tuner can get you in the ball park, but then final tweaking will be up to you. The actual final tuning will vary depending, on what capo you're at, and what key you're in. If you're playing in the key of G, make sure G, C, and D are bang on in tune. You might sound a little bit out on E or A, but since they're not in the scale and won't be played then don't worry about it. e minor and a minor are a little more forgiving. There will probably be some compromise here as well, since if D is perfectly in tune, C might be a little out. Find the middle area to make it the least bad for each chord. Also make sure you're fretting light enough to not seriously throw chords out of tune.

Ok so doubling. I do a lot of acoustic doubling, and when I say a lot, I mean A LOT. I've had tracks that ended up with 20 acoustic guitar tracks all playing more or less the same thing. One of the things that I find helps doubles sit better, and also helps with the tuning issues and also fills out the musical spectrum, is capoing to different positions in the same key. What I mean by that is if you're song is in G, play one pass in open G, and then the double with the Capo on the 3rd fret in E. This will provide a different tonality, make things sound wider and fuller, and hide tuning issues by spreading them across a larger area. If I'm really going to town I might do 5 or 6 different capos. Open G, 3rd fret E, 5th fret D, 7th fret C, 10th fret A, and if possible, 12th fret G. Starts sound more like a mandolin up near the top. That's obviously way to much for a song like Erin, where 2 or 3 would be the most I would suggest, but it just shows you the options.

Another thing with doubling is the rhythm. The rhythm has to be at all times complimentary. It doesn't have to be always identical, but it does have to work together. One thing that I find works is having two doubles panned wide that do a very simplified pattern that can easily be copied perfectly. These form the bed, and then another "lead" acoustic can be panned in the middle which can be a little more complex and form your polyrhythms. The two sides have to really be tight though, except for maybe the odd variation.

Third thing, processing. Processing is very important, and very delicate with the acoustic guitar. It starts out with where you position the mic. Yes that is processing, where you choose to place the mic makes a huge difference in the sound. I always start with the mic about 6 inches away angled in at a 45 degree angle, pointing somewhere around the 12th-14th fret. It doesn't usually end up staying there, but it's a good place to start. I would say you could probably be a little closer to the mic, but try putting headphones on and moving the mic(or yourself if you don't have someone else to help) and listen to how the sound changes. Second thing compression. I love compression on acoustic guitar, but you have to be very delicate with it as overcompressing, or the wrong compression can destroy a good acoustic sound. I think that you are compression wrong, or with a very poor quality compressor. I would start by dialing back the amount of compression and just slowly adding it in. Start with a slow attack and slow release. Make the release faster until it roughly matches the tempo of the song, and then speed up the attack until you get the amount of grab you're looking for. I'm usually at a 2:1-4:1 ratio with the threshold pulling anywhere from 1-5dB. Of course that's completely song dependent. Then comes the EQ. Typically I like quite a bright guitar, but most of that comes from the guitar itself. If the guitar doesn't have a nice top end, boosting up there can just be painful. For you, first off I would suggest a little boost in the 100-240Hz range. Maybe a gentle low shelf with a HPF to cut out any rumble. Then a little cut in the 800-2k region, and a slight boost in the 4K-6K region. These are all just off the top of my head, and from memory after listening in the studio a few days ago, so they might be out to lunch. 4th thing, time based effects. I like a tiny bit of almost unheard delay set to the tempo of the song(only really works well when tracked to a click) or maybe a medium plate reverb, or small room. I don't know if this type of song requires any verb, but maybe a small room with a short RT60 tucked in the back so it's not really noticeable unless you mute it might thicken things up.

I'm sure there's more I could say about the acoustic, but that covers most of the basics. For the voice, I would say back off the mic a little bit. Voice often sounds best with a little bit of space, and it also allows you some leeway if you want to make things sound really intimate by moving in close. I'll often start about a foot away and then go from there. Of course if your room doesn't sound good then closer would probably be better. Forgot to mention that for acoustic too, but it's what I meant about moving the mic in a little closer, might help clean up some of the room sound. Baffles and gobos can sometimes help kill a bad room too, but they can introduce their own issues by killing some frequencies but letting others slip through. Experimentation is the key.

I sort of agree with Christian and Matt about the vocal part. The monotone introduction is fine, but then when things move to a more melodic section, it should really be more extreme to heighten the contrast and create interest.
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Re: Erin. another song i recorded.

Postby collide » Sun Oct 23, 2011 4:31 pm

macrae11 wrote:...A mouthful...


wow! thanks for responding, macrae! : )

I appreciate your response. I have read the whole thing, but don't get all the technical references.
I don't have time enough right now, but If you'd indulge me further, I'm going to come back soon
and question you on some of the specifics. example: "a short RT60 tucked in the back" makes sense
to a lot of people who are into gear and such. My first guess would be a microphone, but I don't know
what RT60 is.

When I have more time, I'd love to pick your brain a bit.

Thanks again. any advice on the tech side of things is helpful. I have little experience here.
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby macrae11 » Sun Oct 23, 2011 4:52 pm

RT60 is the setting in a reverb that tells you how long it takes for the signal to decay by 60 decibels. Basically how long the reverb is, hence ReverbTime60.

Feel free to ask if there's anything I can make clearer.
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Re: Erin. another song i recorded.

Postby Christian LeBlanc » Mon Oct 24, 2011 9:38 am

collide wrote:i'm not sure how to go about noodling a vocal melody on the guitbox, but it's certainly worth a try.
do you mean to say that maybe that would sound good along with the lyrics, or separate?

I just mean using the guitar melody as a songwriting tool to help you come up with melodies to transpose to vocals, but don't actually record any of the guitar melody you come up with (unless you end up liking it somewhere else).

You could just as easily sing up new melodies on your own, without using the guitar. I just find that I come up with different styles of melodies when I use different instruments/settings, so it might be fun to try a vocal melody that another instrument suggested, you know? Unnecessary, just something to try.

I also like what was said about keeping your first verse as-is!
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Re: Erin. another song i recorded.

Postby gamblor » Wed Oct 26, 2011 2:24 pm

I listened to this the other day. I must say this is a great piece of music. I didn't realize you had these kind of songwriting chops outside of the hip hop realm. I can't wait to hear more!
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Re: Erin. another song i recorded.

Postby collide » Tue Nov 01, 2011 2:40 am

gamblor wrote:I listened to this the other day. I must say this is a great piece of music. I didn't realize you had these kind of songwriting chops outside of the hip hop realm. I can't wait to hear more!


Thank yew muchly, sir! Barring an industrial accident, there will be more! : P

math: Thanks for trying so hard to talk to me in person despite the overbearing drunk trying to stop you. I appreciate both the effort and everything you said.
: D

macrae11: i need a new post for you.... brb...
So, we need air to live, but we can't hold it in?... We're screwed.

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Re: Erin. another song i recorded.

Postby collide » Tue Nov 01, 2011 3:09 am

macrae11: Thanks again for all the insight. i'm curious to specify a bit of what you said, if you would be so inclined.

With the acoustic guitar the first thing I heard was the tuning. Tuning is a very personal thing, and one which I'm quite sensitive too, especially when doubling parts. A single acoustic has a bit of leeway, but the more guitars you layer the more critical tuning is. I get the feeling that if there was only one guitar it wouldn't bother me so much, but it's getting a little chorus-y with the double.


I'm a big fan of the doubling, from stuff I listen to, and stuff I'm recording. I don't always prefer it, but I favor it more than not. Is your thought on this that it
seems too much for the whole song, or is it that there is no chorus in the song, making the whole song sound chorusy?

One of the things that I find helps doubles sit better, and also helps with the tuning issues and also fills out the musical spectrum, is capoing to different positions in the same key.


I like this one. I am anxious to try it out!

having two doubles panned wide that do a very simplified pattern that can easily be copied perfectly. These form the bed, and then another "lead" acoustic can be panned in the middle which can be a little more complex and form your polyrhythms.


I Think I know what you mean by this one. Hadn't even crossed my mind. I have been writing all these songs with one guitar, and not even thinking of
adding other parts until recently when I finally had decent gear to work with. Now I need to play with many stuffs (<--technical term)

... overcompressing, or the wrong compression can destroy a good acoustic sound. I think that you are compression wrong, or with a very poor quality compressor... (more specific stuff said here, but i'm trying not to repost every single thing you said, cuz it's above)


This one confuses and intrigues me the most, because Until recently, I have not used compression ever. I don't fully understand how it works, so I have been
reading and talking to people and trying some things, as well as playing with presets. In this one, I found the presets sounded better than what I did adjusting
manually, but again, I don't know compression. How can one tell if you are overdoing it? should you compress one thing at a time? combine first, then compress?
compress only one thing? several? Here is the one I've been wanting to ask about the most. When it comes to taste, I will go with what I like, but I really
don't know enough about this to tell. If there is a better way to go about it, I want to learn.
If you have several items in your tune, which should have compression? or should they be combined and add compression to the tune as a whole?
I don't have much for gear. My compression is digital with Reaper, the program I record and mix with most. I am also not experienced with effects, reverb, etc.

Baffles and gobos can sometimes help kill a bad room too, but they can introduce their own issues by killing some frequencies but letting others slip through. Experimentation is the key.


these words are new to me. : P
I will look them up.

Thanks again! so much to learn...
So, we need air to live, but we can't hold it in?... We're screwed.

https://www.facebook.com/TheAlleyRehearsals?fref=ts (Jamspace and Recording)
http://www.curbside.bandcamp.com (2 free albums)
http://www.myspace.com/stevefudge (acoustic)
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Re: Erin. another song i recorded.

Postby macrae11 » Tue Nov 01, 2011 9:56 am

collide wrote:
macrae11 wrote:With the acoustic guitar the first thing I heard was the tuning. Tuning is a very personal thing, and one which I'm quite sensitive too, especially when doubling parts. A single acoustic has a bit of leeway, but the more guitars you layer the more critical tuning is. I get the feeling that if there was only one guitar it wouldn't bother me so much, but it's getting a little chorus-y with the double.

collide wrote:I'm a big fan of the doubling, from stuff I listen to, and stuff I'm recording. I don't always prefer it, but I favor it more than not. Is your thought on this that it
seems too much for the whole song, or is it that there is no chorus in the song, making the whole song sound chorusy?


Ok a little confusion here. I wasn't referring to chorus-y in terms of song arrangement, ie verse, chorus, bridge. I was referring it as in slight timing and pitch differences that create a chorus effect, like with a chorus pedal.

collide wrote:
macrae11 wrote:One of the things that I find helps doubles sit better, and also helps with the tuning issues and also fills out the musical spectrum, is capoing to different positions in the same key.

collide wrote:I like this one. I am anxious to try it out!



There's all kinds of fun you can have there. Get creative.
collide wrote:
macrae11 wrote:having two doubles panned wide that do a very simplified pattern that can easily be copied perfectly. These form the bed, and then another "lead" acoustic can be panned in the middle which can be a little more complex and form your polyrhythms.

collide wrote:I Think I know what you mean by this one. Hadn't even crossed my mind. I have been writing all these songs with one guitar, and not even thinking of
adding other parts until recently when I finally had decent gear to work with. Now I need to play with many stuffs (<--technical term)



Try starting simple with this technique. Take the part you created when you wrote the song and pan it up the middle. Then create really simple doubled parts for L and R. Start with just whole notes on chord changes, then try half notes, or quarter notes, then eighths or slightly off beat rhythms, but make sure it's still not more complex than the main part.

collide wrote:
macrae11 wrote:... overcompressing, or the wrong compression can destroy a good acoustic sound. I think that you are compression wrong, or with a very poor quality compressor... (more specific stuff said here, but i'm trying not to repost every single thing you said, cuz it's above)

collide wrote:This one confuses and intrigues me the most, because Until recently, I have not used compression ever. I don't fully understand how it works, so I have been
reading and talking to people and trying some things, as well as playing with presets. In this one, I found the presets sounded better than what I did adjusting
manually, but again, I don't know compression. How can one tell if you are overdoing it? should you compress one thing at a time? combine first, then compress?
compress only one thing? several? Here is the one I've been wanting to ask about the most. When it comes to taste, I will go with what I like, but I really
don't know enough about this to tell. If there is a better way to go about it, I want to learn.
If you have several items in your tune, which should have compression? or should they be combined and add compression to the tune as a whole?
I don't have much for gear. My compression is digital with Reaper, the program I record and mix with most. I am also not experienced with effects, reverb, etc.


Alright this is some heavy duty stuff that takes many many hours and days, maybe even weeks and years to get a handle on, so I'll break it down a bit.

collide wrote:I don't fully understand how it works, so I have been
reading and talking to people and trying some things, as well as playing with presets. In this one, I found the presets sounded better than what I did adjusting
manually, but again, I don't know compression.

Ok first off. Compression is probably the most difficult effect to actually hear. Most beginners don't even recognize compression for the first couple of years of music making, without some direct instruction and ear training. Basically a compressor is just a device which controls the dynamic range of your audio signal. Once your signal gets above a certain threshold, the compressor will turn the volume down a certain amount(ratio) to compensate. Here's a place to start with a little more technical detail. http://www.rane.com/par-c.html Learning to hear compression takes quite some time. A good exercise is just to play around with different compressors. For example, start with any source. 1.Put compressor on source. 2.Set threshold to below the average signal level. 3.Set medium ratio, ie 4:1. Attack and release set all the way slow. 4.Slowly turn the attack faster and hear how the sound changes. 5.Repeat with release. 6.Repeat with attack, but start with release all the way fast. 7.Repeat with release, but start with attack all the way fast. Then go back to step 3 and set a high ratio, say 10:1 and go through steps 4-7. Then set a low ratio around 2:1 and repeat. Then go back to step two and set the threshold just at the top edge of the signal level. Then go back to step two and set it well below the average signal level. Then go back to step 1 and try a different style of compressor. It doesn't make as much difference in the box, but there are a multitude of different styles of compressors that all react differently. Once you've done all that, you should have a good idea of the range of capabilities for compression on that source. Then you have to repeat that with every different source you can think of, and all the different combinations of sources, ie full mix, drum group, guitar group, kick and bass etc etc. Once you have all that down, you need to try all this in the context of a mix, where the rubber actually meets the road. So now that you are aware of the capabilities, you have to make the aesthetic decision about not only whether it sounds better, but if it's appropriate for the song/arrangement/part etc. keeping in mind that this processing will affect all other processing in your mix.

So you can see why it might take a while. That being said, feel free to jump right in and start experimenting, because otherwise you'll be months playing with compressors instead of making music, which I assume is your main goal.

collide wrote:How can one tell if you are overdoing it?

Experience.

collide wrote:should you compress one thing at a time? combine first, then compress?
compress only one thing? several?

There's no one answer here, and again it comes down to experience. As many different mixers as there are, I imagine there are at least that many different approaches. I fall into the "all of the above" category.

collide wrote:Here is the one I've been wanting to ask about the most. When it comes to taste, I will go with what I like, but I really
don't know enough about this to tell. If there is a better way to go about it, I want to learn.

Again experience, but if you're not sure, play things on the safe side. One big thing that a lot of beginners don't realize the power of is the attack and release. Some compressors don't have these settings, but most will at least have a version of them. If I'm dealing with a new source that I'm not sure the best way to approach compression wise(but I've determined that it does require compression) I'll start by setting the release to the tempo of the song. Sometimes that's whole notes, sometimes half, quarter, eighth, sixteenth, dotted 32nd etc, but something that fits the groove of the song. A way to figure this out is if you have a part that's playing a very steady rhythm, ie a 4 on the floor kick drum, solo it and set the release so that the compressor pulls the signal down, but then fully, or almost fully releases in time for the next beat. This will vary depending on your other settings, but try to get it so that it "pumps" a bit, ie make the compressor move with the song.
Once you have your release set up, set your attack until it has the amount of grab you want. Listen carefully to how it affects the beginnings of notes as you speed it up. Then set the threshold and ratio to taste to pull the amount you're looking for. This is not even getting into sidechaining, parallel compression, triggering, ordering of effects................


collide wrote:If you have several items in your tune, which should have compression? or should they be combined and add compression to the tune as a whole?

There is no answer, except for the one that works best in that particular instant, in that particular part, in that particular song.


collide wrote:I don't have much for gear. My compression is digital with Reaper, the program I record and mix with most.

It's not really so much about the gear, especially for a beginner. Although there are lots of free plugs out there you can play with, I would work with your stock compressor for a bit until you really get the hang of things, and then start experimenting with other manufacturers once you know what to look for.

collide wrote:I am also not experienced with effects, reverb, etc.

This again, is a whole nother ball of wax. I literally spend weeks on this stuff with my students, and often it still doesn't sink in. It's one of those things you almost have to be together to teach too, because it can be very difficult to get musical points across the internet. One thing I would say to try, is find other peoples songs which you like the treatment of, and try to copy it.
collide wrote:
macrae11 wrote:
Baffles and gobos can sometimes help kill a bad room too, but they can introduce their own issues by killing some frequencies but letting others slip through. Experimentation is the key.

collide wrote:these words are new to me. : P
I will look them up.
They're basically just sound blockers to reduce or eliminate either the sound of a room, or another sound source in the room.
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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Tue Nov 01, 2011 3:56 pm

macrae11 wrote:
collide wrote:I am also not experienced with effects, reverb, etc.

This again, is a whole nother ball of wax. I literally spend weeks on this stuff with my students, and often it still doesn't sink in. It's one of those things you almost have to be together to teach too, because it can be very difficult to get musical points across the internet. One thing I would say to try, is find other peoples songs which you like the treatment of, and try to copy it.


How much for your reverb classes? I want to learn more. Actually, is your delay class included? I want both.
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Re: Erin. another song i recorded.

Postby Christian LeBlanc » Tue Nov 01, 2011 4:11 pm

Mathieu Benoit wrote:How much for your reverb classes? I want to learn more. Actually, is your delay class included? I want both.
I hear the flanging class was actually delayed.
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Re: Erin. another song i recorded.

Postby macrae11 » Tue Nov 01, 2011 4:56 pm

Flanging class has been canceled due to lack of interest, and if you can't figure it out you're an idiot. :-D

Reverb and Delay classes are my usual rate of $35/hr, but with an administration fee of whatever I feel like. So for you Matt I'll give you the good guy rate of $1000. :-P
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Re: Erin. another song i recorded.

Postby Malcolm Boyce » Tue Nov 01, 2011 7:12 pm

macrae11 wrote:One thing I would say to try, is find other peoples songs which you like the treatment of, and try to copy it.
Too true.
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It just fills Forum pages..." --compasspnt

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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Wed Nov 02, 2011 11:58 am

macrae11 wrote:Reverb and Delay classes are my usual rate of $35/hr, but with an AGGRAVATION fee of whatever I feel like. So for you Matt I'll give you the good guy rate of $1000. :-P


Fixed that for ya.
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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Wed Nov 02, 2011 12:02 pm

Malcolm Boyce wrote:
macrae11 wrote:One thing I would say to try, is find other peoples songs which you like the treatment of, and try to copy it.
Too true.

Something Tim Davidson did on an album he recently recorded/produced sent me on an investigative mission for a few hours actually. I learn a lot. I still have no idea how he did it... and truthfully it's not the point. I've come up with several different ways to approach the concept and with Andrew's $0.02 as well I was able to use this opportunity to up my game.

Often people are so obsessed with the process that it becomes more important to them that the result. One day I might find out that what he did was completely different than the way I approached it, I'm okay with that.
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Re: Erin. another song i recorded.

Postby Christian LeBlanc » Wed Nov 02, 2011 2:57 pm

Mathieu Benoit wrote:Something Tim Davidson did on an album he recently recorded/produced sent me on an investigative mission for a few hours actually.

Ok, I have to know. Is there a sample online somewhere of what got you so curious?
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Re: Erin. another song i recorded.

Postby Mathieu Benoit » Wed Nov 02, 2011 3:07 pm

Christian LeBlanc wrote:
Mathieu Benoit wrote:Something Tim Davidson did on an album he recently recorded/produced sent me on an investigative mission for a few hours actually.

Ok, I have to know. Is there a sample online somewhere of what got you so curious?

It's on Babette Hayward's new CD. The name of the song escapes me at the moment though. I think it might be called "Break Line" it's on her myspace page in any event. Tim does some nice work, I gotta say. There are very few people in the area that are at his level IMHO.
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