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Originally Posted by foxAsteria
I don't hear Portishead really, but it's very good regardless. My only complaint is that, for how slow it is, the spaces between the chords seem a bit empty. I think any decent vocalist would be able to take it to a new level. I "hear" strong vocal lines throughout.
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Thanks both (and all) for taking the time to listen and feed back, it's a big help and greatly valued.
Yeah there is space between the chords, the original guitar sequence had more detail but I felt like it was getting a bit busy, I was trying to deliberately leave some space.
And, crucially, there IS actually a fully fledged vocal line in existence, written by my old band mate who unfortunately now lives a bit far away.... and the original version of the song was actually in 4/4 rather than 6/8! I can hear in my head how it could translate, but I need to a) convince him that it works and b) convince him to record it... the melody is beautiful though, god I miss that guy.
Saying that though, if anyone out there fancies having a stab at a new rough vocal idea just for fun, I'd be really curious to hear it.
Quote:
Originally Posted by prom
Almost a brush kit here but not.Does it need to be a processed Portishead skin to retain the groove? I don't care for the ride,could be sweeter more natural,I like the guitar,the chord structure (is that dulcimer?) and arrangement.I hear a production like soft rock, progressive pop,think --> The Kick inside/Never Forever/Year Of The Cat - if you know these then you know the sound... 1975 --> 1980 Andrew Powell/Stuart Elliott.
The Portishead thing? ok yes, but it has perhaps a too dark undercurrent for the melody section here...which is really quite beautiful.
You've done a great job,this just some thoughts on mix if you ever have to wrap it differently and are not sure what to try,which way to proceed...something to think about especially if there is ever a fine vocalist/lyricist involved.
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thanks for your thoughts here - the more 'real' drum sounds are actually brush, Addictive Drums VSTi to be exact. when you say the ride, do you mean the ride during the first interludey bit at 2:00, or the one at the finale, or both? For me I'm critical of the finale one... I just wasn't getting enough HF in this section to match up with commercial reference tracks, so I ended up boosting it on the ride mainly... but you're right it doesn't sound that sweet. Not sure what to do there, want to retain some intensity but also keep it sweet...
The Portisheady angle is a taste thing I guess, I like it when stuff that is musically solid is combined with some processing to get something that is a bit broken in some way... I love it when this balance is found. Not sure I've fully found it here, I'd actually like it to be a bit more fractured I think.
Oh and that dulcimer-ish sound is actually a Kontakt 'Plucked Piano' patch.
Cheers for your feedback!