Well, I did read "ALL" of your introductory info. Most of it was Greek - or some other foreign language - to me. You've probably read how archaic and simplistic my recording process is.
Hi, Alan.
Well, you
are a glutton for punishment!
The
right perspective on this is that my process is overly complicated, and
you're doing something right.
The lead vocal was quite nice. What I really enjoyed was the counterpoint vocals - they really add to the entire project. Nice sax solo and a terrific mix for the entire song.
Yes, the counterpoint is the fun bit. The underlying melody and vocals are hard work, as is the mixing and fine tuning.
But the counterlines -
those are fun to do. So it's good to hear they sound good as well.
At near 75 years old, my ears sometimes lie to me or just ignore everything other folks hear - but .... do I hear a small bit of vibrato in the Eleanor's voice? If I am correct in that assumption, perhaps that is why I think she is sounding more and more human as her vocal history has unfolded.
Yes, there's a lot of expressiveness in the vocal, including vibrato.
This version of Eleanor is an "AI" version, which uses a neural network to generate the voice. There's a slight hit to the vocal quality, but it's generally a bit better in overall expressiveness.
Also, it's been trained on fine pitch detail, so you have an option to "humanize" the singing, which makes it more natural than if it were just randomly jittering the voice.
There's also fairly fine level of detail that can be performed manually, and I've written some script to help me with adding things like progressive vibrato.
Also, I always love your chord progressions. I love playing around with chord interactions and see how I can come up with something different and interesting but isn't exceptionally jolting.
Thanks, I appreciate you noticing and mentioning that!
Merry Christmas, and I hope this year brings the best to you and Di.