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The low end is still out control on what seems to be the guitar. I'm not sure if you dialed it in with EQ or if it's some sort of proximity effect from when you originally cut the track. This rumble wipes out a lot of the more subtle tones on everything else, and I wonder if you were trying to compe...

It's really quite lovely. One thing i notice, however, which might be a general tendency of yours while applying EQ, is an enormous favoring of the upper-mids. Especially in the vocals (where it's obviously for aesthetic reasons) but also in the guitar(s). This is also an arrangement thing. You migh...

Her You and I is an excellent song, I think. Perhaps a bit long, and it begs for breezy female harmonies... a la Steely Dan.

I really like the recording as well. But then, I think I'm deaf after 7 hours in the studio last night...

a new mix a new aesthetic. try it if you dare.

Dance Song (lo-fi)

love,
john michael swartz

p.s. unfortunately same less-than-stellar vocal take, but do let's all invoke the spirit of charles ives every once in a while

the URL function on this thing doesn't seem to work for me. let's try this:

Picture Perfect

Ah, to be 16 again! Or 17. I can't remember. 4 or so years ago, anyway.

available summer 2004. new york / brooklyn. skilled and experienced classical / avant-garde cellist with a special interest in free improvisation. skilled keyboardist / synthesist of many styles proficient with a wide range of analogue and MIDI techniques. [intimate relationship with the Buchla 100 ...

I don't know if any of you have ever had this experience where you realize how cool your first recordings sound "in spite" of all the technical limitations they might have had... That said, I will link you to one of my most cherished recordings, which also happened to be my first ever time recording...

Thanks for the feedback. The band and I (I'm just producing/engineering the recordings, though in some sense that makes me part of the band) are trying to decide whether or not to re-record this entire track. In fact, the drums and bass were done live-to-2 to DAT and subsequently smashed to the 8 tr...

Ah, this is the new mix.

http://members.cox.net/cellofellow/dancesong.mp3

Dance Song I'll get back to you all in about a week with a mix with a bit less of the Buchla bass. I guess I was just a bit scared everybody would be yelling like Ike Turner, but this is a bit extreme. I was going for a coherently gritty bleak-futuro sound. Like 80s cyberpunk, I guess. Let me know ...

having worked on my own rhodes, i can tell you that enough of the tine patina just naturally comes off onto your fingers when you tune and adjust the harp assembly to warrant calling that activity "cleaning." you'll never forget the smell of steel corrosion. and then i've read from people that clean...

*sigh* are any of you available for marriage?

but really, these tracks were a pleasant diversion. were you recording the drums first to a four track and then dumping to the 16 track?

This is more in the realm of electronic music and heavy production, but I also like what Sean O'Hagen does in "Captain Easychord" from Stereolab's <I>Soundust</I>. In the second half of the song, the words go "There are two sides to one same thing, there are two sides." And the bass drum alternates ...

This is something I plan on trying myself: http://www.gavinhammond.com/writing/index.htm Think of the Beatles' "Taxman." Drums and bass, hard-panned left. Incredible punch (like spiked with vodka or something). It may make sense acoustically when played in a room, but not aesthetically if you're wor...

I have noticed that many people look back upon 80's production styles upon irritatingly smug aesthetic pedestals. "What were we thinking? Gated reverb! Bah! FM synthesis! Bah!" What twaddle! What aesethetic snobbery! To ask oneself "Why why why did Men at Work happen?" is to completely miss the poin...