woohoo, an era of music I love; Buffalo Springfield, Crosby Stills Nash & Young, etc. You can do great things with vocal harmonies. On first listen, taming the cymbal crashes will enable increasing the drum volumes. Cymbals do clash with Vocals and your vocals are very good. Then again the drums don't build tension 'til the resolving measures so it's cool. Parametric EQ to sweep/search for the correct kick cut; -15db at 200Hz tames common farting sound in kick drums. Many of us dampen the mallet head to tame resonance and then we go after the slap around 3kHz or there abouts--I never actually look. The hole is just to get the mic in. I like the echo on the vox too but would experiment with it. Maybe a more selective usage but then stomp on it. Verse, first measure "Caught up in my father" echo, echo, tailing into second measure just "sludging around." Then no more in the verse and cymbals build the last measure. Perserve the tonal quality with a seperate and very tight echo. You don't want to hear any slap. What am I babbling about. It's your fault for getting me excited. It's been years since I listened to Dark side of the goon. It would be fun to hear it again. Listening to the cool tunes that have been posted lately makes me wish I was doing something creative again. All in good time. Back to work, ron --- tim hall <tech@xxxxxxxxxxxxxxxxxxxxxxx> wrote: > This is my first attempt at using Ardour for a > proper recording, largely > following Paul's presentation at LAC. > > http://www.glastonburymusic.org.uk/sound/samsara.ogg > > Usual disclaimers apply, I'm not an engineer, so any > thoughts welcomed. > > cheers, > > tim hall > http://glastonburymusic.org.uk > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
