RE: Judge this harshly.
August 22, 2016 at 1:35 am
(This post was last modified: August 22, 2016 at 1:40 am by Thumpalumpacus.)
I think we've already discussed the Three Doors Down similarity, so I won't go into that any further.
The parts I liked:
-- interesting guitar tones throughout, a good variety of cleans, dirt, and mondo drive, and all of them sounding throaty except perhaps the clean at the beginning -- but that's understandable given the song's arrangement.
-- damned good playing on the solo. The 16th-note run in the first part was energizing, but then followed up by the transition back into the song, with those powerful bends, that's some really good stuff there.
-- the drum programming was good (with the exception of the section headed into the blast-beats, which seemed a little stiff to me -- maybe I like hearing a little more swing in that sort of change? ), and the tones were really nice -- thick and full-bodied. In a related note, the cymbals sounded really, really good. They cut through the mix exactly as they should, and had very realistic sizzle.
The parts I didn't care for:
-- the reverb on the vocals. Not only did it give the distant feel that Jesster was talking about, but also the lack of clarity EP mentioned. The tail of the reverb was too long, in my opinion, which caused it even more problems playing nice with the backing music. The vocals and the guitars were slotted into the same frequencies -- which happens sometimes, I get it -- but that long reverb meant that the vocals and guitars were fighting for earspace even more than they could have. My solution (though you didn't request this sort of thing) would be to EQ the guitars differently emphasizing more midrange, and perhaps dropping them a touch in the mix (the added mids will keep perceived levels the same if you're careful in both phases), so that you're not fighting traffic.
-- The singer missed a couple of notes by a couple of cents.
-- a couple of your bends were a tiny bit shy of the target note, I think.
-- MOAR BASS.
Good stuff, Paul. Goddamned good.
The parts I liked:
-- interesting guitar tones throughout, a good variety of cleans, dirt, and mondo drive, and all of them sounding throaty except perhaps the clean at the beginning -- but that's understandable given the song's arrangement.
-- damned good playing on the solo. The 16th-note run in the first part was energizing, but then followed up by the transition back into the song, with those powerful bends, that's some really good stuff there.
-- the drum programming was good (with the exception of the section headed into the blast-beats, which seemed a little stiff to me -- maybe I like hearing a little more swing in that sort of change? ), and the tones were really nice -- thick and full-bodied. In a related note, the cymbals sounded really, really good. They cut through the mix exactly as they should, and had very realistic sizzle.
The parts I didn't care for:
-- the reverb on the vocals. Not only did it give the distant feel that Jesster was talking about, but also the lack of clarity EP mentioned. The tail of the reverb was too long, in my opinion, which caused it even more problems playing nice with the backing music. The vocals and the guitars were slotted into the same frequencies -- which happens sometimes, I get it -- but that long reverb meant that the vocals and guitars were fighting for earspace even more than they could have. My solution (though you didn't request this sort of thing) would be to EQ the guitars differently emphasizing more midrange, and perhaps dropping them a touch in the mix (the added mids will keep perceived levels the same if you're careful in both phases), so that you're not fighting traffic.
-- The singer missed a couple of notes by a couple of cents.
-- a couple of your bends were a tiny bit shy of the target note, I think.
-- MOAR BASS.
Good stuff, Paul. Goddamned good.
