notnat


Paulo... Thanks for the follow up listen... and I agree with you in regard to Danny... what a generous person Danny is, to share his knowledge and expertise in such detail... I wish I could play my guitars & keys as fast as he can articulate and type...

Danny thanks so much for your help... what a wonderful resource you are... and thankyou for the link to that very informative thread...
I think maybe my imaging problems stem from my overhead mic'ng technique... I've only had the DW Kit in my home studio for a few weeks, and this is just my 2nd production using a real permanent drum setup here... I do have each individual drum mic hardware-gated, and isolated, but not my two overhead mics, and no dedicated cymbal mics... hopefully I'll have this problem ironed out on my next project...
   

Thanks paulo and Frank...much appreciated. :)
 
Frank, the OH's you shouldn't have to ever gate unless something nasty is getting through there. I don't think I've ever had to do that to mine for anything. I've had a few clients to where they brought me stuff that was recorded somewhere else that needed gates as well as cloning on the OH's...but when things are done correctly, you shouldn't need to gate them because the OH's give the entire kit a bit more life just for being there. Ever use a drum program that has OH's in it? Try killing them and listen to how the rest of the kit suffers. Try your best not to gate them if you can get away with it. The added impact they give you really makes a difference.
 
As for dedicated cymbals, most times you can get away with a hat mic and a ride mic. That's what I like to do...this way I always have control over them. Be careful of hardware gates here as you don't want to stop the cymbals from resonating. The good thing about the DAW world is we can just slip edit in this situation if needed. But yeah, usually two over-heads for all my crashes, (unless I'm using splashes and specials) and mic's on the ride and hats, two more deeper room mics at the back of the room and I'm in good shape. The kit sounds good though man...just a little more experimenting and you'll get it where you need it to be. I'll do my best to keep listening in on your tunes to see how you progress and offer any advice I can when needed. :)
 
-Danny

Song is too cool for school, Frank.

I think the issue is that the snare is stepping all over the vocal. You should carve out some of the fundamental vocal freq out of the snare and see if it sits a little better.

Great playing as always!

why don't you try sidechaining the vocals to a multiband on the snare?

craigb


Coming into this one late with not much to say but "This kicks some serious butt!"  As is, I'd say it's perfect for a studio album, however, if you ever put out a live one, what I'd do is kick it up between 90 and 100bpm (it seems to be around 84 now) and add an extended lead - preferably a trade-off type between a couple of guitarists - after your last chorus.

Oh yeah, and for the record, I don't think it sounds that Skynnyrd-ish at all, but adding the above to a live show might give it a bit of a Molly Hatchet sound - lol!  Plus people will want to buy the live album for the alternate version.

Very interesting Craig... great idea... now if only I can get the band interested in playing it...

"I can't live a storybook life, but I'm livin' one hell of a song".
What a great line. And I like the lyrics overall. They are very much in line with the killer vibe set by the instrumental parts.
The whole performance is very tight, and punchy. This has a Little Feat at their best feel to it.
Plenty of little details to like about this.
Just a flat out killer tune.

James, Thanks again.. I've been investigating "sidechain ducking"... but I may just be "off on a tangent"... btw, I sent you a pm...

Daryl, thanks for the listen, and the props... your feedback is always appreciated...

Robert, so glad you like the song... my ol' friend and bandmate, Dave Adkins, really stepped up, and made this one come alive... 

Wow the mix has changed a lot from the first one I listened to. I agree about the snare stepping on the vocals a bit. The only other very minor crit I have is you might try moving the ending drum thing a bit earlier so it is in time with the guitar hit and fall. Everything is tight up to that point and I think that would really make the ending zing. Just my opinion.