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Floyd: What version of BIAB do you have? Is it the audiophile edition? I am just looking for another reason as to why your stuff sounds sooooooo much better than mine! (Ha ha) I think he must have gotten the TALENT IN A BOX upgrade that I haven't been able to find anywhere ;(
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Kevin - thanks for the good words.
I was not aware of JPF. I popped over there. Interesting site. I actually know one of the "big guys" - from years ago. The BIAB discussion seems a typical rant by people who don't really know what they are talking about (except that 90 dB guy - he seems very smart!).
I'm using the "regular" version (2013). (Couldn't tell how serious you were about that... you're stuff is always good - there just needs to be MORE of it!)
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" He then asked if it was okay for him to "tighten up" the drums - well, yeah! (Not sure what that involved)" Guitars by Rodney Gene (TexasHeartRush)
Bass by Rodney Gene (TexasHeartRush)RealDrums in Song: NashvilleEven8^1-a:Sidestick, HiHat , b:Snare, Ride (200 + edits, creating a real drummer feel for verses, open hats for chorus and pre-verse energy vs. closed hats for dynamics and vocal support, adding cymbal hits, inventing/creating the 'right' fills in the right places to support each p[art of the song...and most of all MULTING the KICK and SNARE in about 100 places using real drum samples) I also 'created' certain fills with BFD samples (such a drum snap at 30 secs and all 'stops'). They were thickened and EQd to sound punchy. Still the coolest part of the tune is the bass. When you hear a full, tonally, phrase correct bass (without BIAB warble) it just makes the rest sit right IMO. FLOYD: Hey buddy, you must remove that 'breath' at the start of the song! Ha!  . I would love to hear this tune with a different 2 BUSS mastering. Something with greater transparency to maintain the dynamics to a greater degree. Cheers!~
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Before I forget.. A BIG thank you to Rodney for his help on this - he really helped make it something special. Apparently, we need to talk about some stuff...
ROG - thanks for the nice comments. I've been working on a song that I considered seeing if you would want to do a vocal for...
Lawrence - thanks. appreciate that.
Josie - thanks for listenin'. A movie... hadn't thought of that, but there's enough action there... hmmm...
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RealDrums in Song: NashvilleEven8^1-a:Sidestick, HiHat , b:Snare, Ride (200 + edits, creating a real drummer feel for verses, open hats for chorus and pre-verse energy vs. closed hats for dynamics and vocal support, adding cymbal hits, inventing/creating the 'right' fills in the right places to support each p[art of the song...and most of all MULTING the KICK and SNARE in about 100 places using real drum samples) I also 'created' certain fills with BFD samples (such a drum snap at 30 secs and all 'stops'). They were thickened and EQd to sound punchy. Dang -- that's a lot of work!!! I guess that is what it takes to get that super pro sound, though. You are certainly driven to be the best you can be. I wish I was 1/10th that motivated.
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Rodney -
I went back and forth about removing that breath. I'll take it out on the next pass.
I'll email you later about a new mix.
MULTING is a new term to me - can you explain that a little better - I'm sure everyone here would be interested...
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...I'm using the "regular" version (2013). (Couldn't tell how serious you were about that... you're stuff is always good - there just needs to be MORE of it!) Oh, I am serious. Of course a lot of it is that your songs are always super well written. Since your songs are interesting that makes them sound better already. Well 50/90 is starting soon, so I'll (hopefully) be writing a lot of stuff. I might be going for more of a stripped down sound, though (ala The Lumineers), so I don't know how much BIAB will be involved.
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well Floyd,
if that song were a game of billiards, it would have been like sinking every ball on the break!
There are a bunch of ways a song can succeed or fail, and this collaboration has gotten all of them right.
The performances (your singing and Rodney's guitar playing) were not only in the pocket, but they were also very tastefully woven together into a mix that sounds like its supposed to be heard together (not all songs manage to accomplish that)
I was particularly impressed by the clever rhymes and even the way you chose words to create a very unique mood for the song. In spite of the fact that country songs are a dime a dozen, I can honestly say I've never heard anything quite like that. To my ears it is a highly original offering in a genre that has just about been exhausted for fresh ideas.
Hey, Pat.... did we have 5 bucks on that game? I appreciate the fact that you appreciate the "word quality" of this song. There was a time (mid 90's) when this would have "fit" with what was being done in Country music. Not so sure now.... Anyway... thank you for the very kind thoughts (and where's my 5 bucks?) floyd
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Joanne - glad you enjoyed it...
eric - thanks for the listen.
Bob - seems like you may have liked this one. If I can get that 90dB thumbs up, I know I'm on the right track (But, apparently, it's gonna be a very long road)
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Guenter - thanks, as always. Rodney has explained some of the drums. Perhaps, we'll get some more insight from him on that...
Dennis - thanks.
Dani - I appreciate your kind words...
gotta go... back to this later....
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Rodney -
I went back and forth about removing that breath. I'll take it out on the next pass.
I'll email you later about a new mix.
MULTING is a new term to me - can you explain that a little better - I'm sure everyone here would be interested... Hey Floyd, its all 100% good. The breath thing a production call and my ear is really sensitive to detail like that! 'Multing' is tedious work usually reserved for the assistant engineer! Ha. Ever wonder how they get GREAT big punchy polished modern drum tones? Once you have a basic drum track (kick or snare usually but cymbals also) you add a 2nd (or 3rd even) track of JUST kick or JUST snare etc. You place each kick by hand to 'double' the original kick or snare. This new MULT kick is usually of different EQ tonal quality to add thickness, snap, attack etc. Whatever you need for the sound you vision. This is done on modern country, rock, pop etc regularly as far back as 20 years ago using drum machines as mults. (We did this in 1986 actually) Now today with new programs like Slate Drums (Which I recently bought) you can mult form the start. Very advanced and incredible sounding drums. So well recorded. For this song, we needed mults for ALL of the stops / starts (drums start / stop often here) and all of the breaks. Here is the difference: This is from the actual song: All setting equal except the mults. Notice the original drums have a bit of a 'flabby' kick and plain snare? That is the original unaffected BIAB recordings which are great for a certain feel. Then hear them 'punch'? That is with the kick and snare mults. Everything is bigger and tighter. Bass sits better and sonically fits in the right place. * Mult Sample* http://www.golproductions.com/multexample.mp3For some music like Jazz, a soft ultra dynamic drum sound is best. Mults are never needed. But for modern bands like Nickelback, Taylor Swift, Jason Aldean, Train etc... the recordings have been supported. Basic production technique. Generally there is more that goes into great production than meets the ear. Hope that helps!~ Cheers.
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Greg - appreciate the nice comments.
Danny - I like your assessment. I also like that, for a change, I gets to say... I appreciate the listen and the comment (you ARE often "late to the party" - oh, oh, oh... just had a song idea!!!!)
David - thanks for the analysis... who knew that "tightening" was so much work? The song originally started with "Carol put a love note..." but for the payoff line, it doesn't sing well - "letter" has a much more sing-able quality at that point. It's one of those "little things" that people often overlook...
RichMac - thanks.
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It’s all been said.
All I can add is that this is one of the most professional tunes that I have heard on this site. This air-play ready IMHO.
My goal this weekend is to move just enough each day so that no one pokes me to see if I'm dead or not.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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Mario - a big thank you. that is a very nice thing to hear.
Rodney - thanks for taking the time to explain the drum process. I, for one, really appreciate it. I'm kind of surprised that no one else has said anything about it....
Noel - I didn't forget about you!!! Just want to make sure to say A Big Thanks to you... Few writers use the power of alliteration - more ought to. There are times that I really "get going" and have to pull back a bit because it can get out of hand. But if you can get it in there without it being blatantly noticed (until a closer look) then... you're using it in it's best form.... I appreciate that you notice such things....
Kevin - if you come this way again... I've been thinking a lot about your question... and I've had a number of thoughts... it may take a bit of time to "write it up", but when I do, I'll throw some thoughts up here... also, thanks for the Lumineers link - I watched the whole thing and really enjoyed it
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An absolute "big studio" pro sounding production on my monitors. Wonderful expo on how RealTracks and, well, real tracks can work together. While well aware of the risk of being redundant, I've gotta say that the lyrics are an absolute clinic in song writing. There enough clever lines, rhymes, alliterations and more in this one song to populate a dozen folk's best efforts -- yours truly included. Throw in great vocals and guitars and you've got one heckuva song. This tune has commercial appeal in spades. It can be enjoyed on so MANY levels. Makes me wanna burn my drawing board instead of going back to it......
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Floyd,
We have already talked, but great piece of work.
Your lyrical story really stands out in this piece.
Thanks for sharing.
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