New link is: http://www.youtube.com/watch?v=z7zO6u23nSI  




<edited for new link>

This is a remake of a remake.

It's a remake of the Mellencamp/Ndegeocello version of VanMorrison's Wild Night.

Here's the link: https://www.youtube.com/watch?v=fyDgT1-hBFs     .




Thanks for listening. All feedback welcome.

This is just different enough to be almost original.  I like this version with its driving bass line.  Well done.

Really cool version. I really enjoyed.

Being familiar with both versions I would suggest the following: Bring some lower end back into the vox. Dial back the reverb and maybe use a delay as well to give the vox depth, but watch the timings of the tails. Or choose a different reverb impulse that ia a bit warmer and detailed (recall that reverb can be very clear or very colored depending on the environment it is projected into. Once you bring the bottom back to the vox will I be able to tell if the levels need be brought back, but right now they are too loud in the mix IMO.

Thank you! My wife who sang the song suggested that the VOX are too high as well. I agree on the verb too. I do have stereo delay on the VOX. It's set to about 100ms (if I recall) in stereo to a send that I control. I kind of rushed this one out with ear fatigue, but I'm glad to hear that you're hearing some of the things that I am.

Thanks again!

I like a vox that is upfront.... I think the vox is at the right level. But not the BGV. On the back ground vox, try lowering them. this does not apply to where she echos some lines. 

I mix country primarily..... and the thing in country is to have the BGV really low,,,, just enough to know there is harmony but not as loud as the main vox... not even close. 

Example: http://soundclick.com/share.cfm?id=12048139  There are 5 vocal tracks. One lead up front in the spotlight.... 2 leads recorded independently, not cloned and down about -20db for fattening,  spread wide in the panning....70% or more.... then there are 2 harmonies also spread wide at 50%... but only down 12db or so..... just so you can hear the harmony but it blends into the background as opposed to being a vocal group of harmonizing singers.  

Of course, that's how I did the example. It may or may not be what you are looking for. I would consider it on the harmony parts. On the chorus especially..... you don't want that onslaught of voices from the same singer..... lower them and they are there but not so in your face. 

On the intro, yeah I would envelope the vox a few db lower and then bring it up to where you have it when the band kicks into gear. the vox is the right level with the instruments playing. 

I would also run some pitch correction on the vocal. there are some places where it could use some tuning. I run pitch correction on every single vocal no matter how good the singer is.... so don't take my suggestion as an insult. It's not. As it stands, it has a live organic nature to it, but to give it that professional polish.... a but of touching up here and there would nail that baby dead on. 

nice job on the cover.

Hope that helps.

For the record, I do not agree. Use pitch correction only if you never intend to perform - ever. Otherwise, practice. Pitch correction is not a replacement for a proper vocal technique. (I no longer comment on Herb's performances as I know they are artificial).

Guitarhacker


I run pitch correction on every single vocal no matter how good the singer is....  

You do?

Wow.


The one thing having a home studio gives us is the opportunity to spend as much time as we like getting things right. I would never advocate using pitch correction for the sake of it. Think of all the thousands of wonderful songs sung in the past before that software came along...performance is everything.

I wonder if Herb would use pitch correction on Neil Young...

  


Sorry to derail.

Back to the song;

I like this version, it's a huge contrast to the one I was involved in recently, and that serves to highlight how creative people can be. I like the stripped down, bass driven verses a lot.

I like it. I like the (excellent) vox right up front. I like the prominent bass. 

I'd just suggest matching the drums' level to the bass and/or brightening the drums, as well as adding compression to the overheads. Maybe some parallel distortion on the snare & toms. IOW, make the drums more aggressive. Throw in a few splash/crash hits on the ooh-ooh-wee part. That's what I'd do, anyway.


P.S. re: pitch correction...don't bother. At most there were only a few notes that could benefit, so if you do decide to "fix" it, separate the parts you're going to correct by splitting clips and just edit those specific notes. I am very much a proponent of only pitch-correcting what truly (audibly!) needs it. 

Shad and James.... that's funny. 

Shad, your comments are always welcomed. You know that. 

James... Neil Young? Fixing his vocals.... assuming there is software that could handle such a monumental task......... no... that would be a travesty, but then again, not too many folks are able to build a career in music like NY has done by singing like he does.... I tried but they were't buying it. 

pitch correction software can be used to slam the notes dead on..... as many do....

Or... it can be used as I do,  with a light touch to finesse a note closer, but still not dead on.... and it can be used to fix a place in a held note that drifts or has a weak spot in it. It results in a more polished vocal or instrumental performance. 

I edit the notes that need it and only work in MANUAL mode so that it does not paint with a wide brush. The fixes I make are surgical and 95% or better of the track is not touched at all. 

Using it in this manner, does not, in my opinion, constitute an artificial performance nor is it an indictment of a singer's ability to sing.