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Posted
You've definitely stepped up your production skills, Fridge! Great work!
  • Like 1
Posted

You've definitely stepped up your production skills, Fridge! Great work!

 

Thanks!...it's been a steep learning curve, but I'm getting there bit by bit....

Posted

First impressions on my initial listening to the album -

 

- I think the musicianship and vocals are a step up from previous releases.

 

- The songwriting is stronger.

 

- The production is way better than previous releases.

 

All round a good result and definitely on an upward trajectory.

  • Like 2
Posted

First impressions on my initial listening to the album -

 

- I think the musicianship and vocals are a step up from previous releases.

 

- The songwriting is stronger.

 

- The production is way better than previous releases.

 

All round a good result and definitely on an upward trajectory.

 

Appreciate the comments mate, means a lot...

 

I think we're all improving at our "craft" and it bodes well for the future.

 

I particularly appreciate the production comments as I've really been trying to up my game at this and it's good to here some positive confirmation of this

  • Like 1
Posted
Great job Paul on the mixing. Ive not given it justice with listening to it in depth, but the mixing sounds better. The guitars sound wonderful. Only thing I would say is the cymbals sound too high up, and distract. Mixing overall is definitely an improvement. Nice one.
  • Like 1
Posted

Great job Paul on the mixing. Ive not given it justice with listening to it in depth, but the mixing sounds better. The guitars sound wonderful. Only thing I would say is the cymbals sound too high up, and distract. Mixing overall is definitely an improvement. Nice one.

 

Cheers for that Steve

 

re the guitars, before we started this album I invested in Bias2 software from Positive Grid.....the tones are unbelievable

Posted
Great stuff, and the production is great too!
  • Like 1
Posted

Great job Paul on the mixing. Ive not given it justice with listening to it in depth, but the mixing sounds better. The guitars sound wonderful. Only thing I would say is the cymbals sound too high up, and distract. Mixing overall is definitely an improvement. Nice one.

 

Cheers for that Steve

 

re the guitars, before we started this album I invested in Bias2 software from Positive Grid.....the tones are unbelievable

 

What's your signal path?

Posted

Hello all you fine people!

 

We have just completed our 5th albun titled "Comical and Disturbing"

 

If you are so inclined, follow the link below and check it out.....feedback always welcome.

 

 

https://sloppyfootco...-and-disturbing

 

Apologies for not listening sooner, I love this mix of influences! I wish rock like this was the zeitgeist rather than the cliche, soulless, faux blues metal status quo is today.

 

Just some notes as I'm listening:

 

-I dig the moodiness of Bullet.

-Cour D'Alene is strong, good hooks.

-Sight Lines probably my favorite so far! That instrumental outro really builds into something magic. Keep going!

-New Dose is like if 80s new wave happened in the 90s, which turns out pretty cool.

-Days In The Bell Jar has a very strong hook, with some Rushy guitar harmonics in there.

-I like the chord structure on Fill The Space, the simple melody works well for this as well, smiley face for the bass

-really enjoying the intro to all of Pull Me Away, strong drums, great guitar tones, well composed music, vocals have taken a step up, might be the best song here!

-Dare seems oddly washed out. Maybe it's just since I'm streaming, or maybe my portable speaker. The music is good, just feel like I'm sitting next to the (virtual) drums rather than in front of the band

-Dig the bass chords on Underdog, like The Pass but heavier, good closer

 

Overall good track sequencing. Maybe a bit of fillerish material in there but then I've only given one listen. Each song had its own character. Bass and guitar playing was strong throughout, with some good tones chosen as well. Drums seemed to be programmed how a human drummer would play them, which must've taken a lot of effort. Good result there. I thought there were only two things holding this back: the vocals seemed pitchy on most songs and the production seemed inconsistent. From what I've read you've been working on the production and getting better every time, though this is my first time listening. I'm glad to hear it and I hope you keep going and improving! I certainly couldn't do anything like this yet for a single song, let alone a whole album. Just from a listening perspective I would love to hear it with a fuller sound. As far as the vocals, your singer has a really unique voice, with a couple of distinct registers which is cool. And sounding pitchy to me may just sound stylistic and cool to others, so it's all subjective anyway.

 

Sorry I'm late getting around to it, I'll tackle The Haze tomorrow. Thank you for sharing, and keep up the good work!

  • Like 2
Posted (edited)

Greetings all you fine folk!

 

There's been a few changes in SFC land since we last got together, most noteable being that Mike was unable to commit more time to the project.

 

However, we have benefited immensley from the very capable addition of Entre Perpetuo who has slotted in perfectly providing vox and guitar plus original compositions of his own.

 

PM&S has also contributed vocally as well as taking over the mixing and mastering job from me...I think he's done a great job!

 

Anyway, album is called A Harvest of Haggis...if you feel inclined then pop over and have a listen, any feedback gratefully received

 

https://sloppyfootco...rvest-of-haggis

Edited by Fridge
  • Like 2
Posted
I’ve been very grateful for the chance to contribute to this awesome project over the past few months! Fridge and PM&S have been easy to work with and are both wonderful talents from the drawing board to the mixing board. Very excited to share this new album with everyone here!
  • Like 2
Posted

The compositions are strong and well-executed. Learning To Fall sounds very much like a Jeremy song, is it? The chorus is damn catchy on that one.

 

Pocketdream has moments where I'm strongly reminded of Kings X.

 

Back to Bassics is fun. Derek Smalls would be proud!

 

Cool reverse reverb on Rubberneck. Love those harmonies.

 

EPs vocals work well with the material, the harmonies in particular are lush. From a mixing perspective, there are times when his vox are right where they should be and other times when they're a bit lost, sometimes in the same line, so maybe some (additional) compression might be called for.

 

Really good work, guys. I know how much work it takes to do an album remotely, so my hat's off to you! You have something to be very proud of here.

  • Like 2
Posted

Greetings all you fine folk!

 

There's been a few changes in SFC land since we last got together, most noteable being that Mike was unable to commit more time to the project.

 

However, we have benefited immensley from the very capable addition of Entre Perpetuo who has slotted in perfectly providing vox and guitar plus original compositions of his own.

 

PM&S has also contributed vocally as well as taking over the mixing and mastering job from me...I think he's done a great job!

 

Anyway, album is called A Harvest of Haggis...if you feel inclined then pop over and have a listen, any feedback gratefully received

 

https://sloppyfootco...rvest-of-haggis

 

Looking forward to checking it out, it's on my to do list (need the dedicated time to focus).

  • Like 1
Posted

The compositions are strong and well-executed. Learning To Fall sounds very much like a Jeremy song, is it? The chorus is damn catchy on that one.

 

Pocketdream has moments where I'm strongly reminded of Kings X.

 

Back to Bassics is fun. Derek Smalls would be proud!

 

Cool reverse reverb on Rubberneck. Love those harmonies.

 

EPs vocals work well with the material, the harmonies in particular are lush. From a mixing perspective, there are times when his vox are right where they should be and other times when they're a bit lost, sometimes in the same line, so maybe some (additional) compression might be called for.

 

Really good work, guys. I know how much work it takes to do an album remotely, so my hat's off to you! You have something to be very proud of here.

 

Well really most of the credit belongs to Paul and Jeremy. They are the real masterminds behind the songs and the mixes, and they've got a great process for remote recording. I'm just happy I was able to help bring the project to fruition. Thank you for the compliments all around!

 

On the note of the vocal mixing, I think the discrepancies are at least partly due to my microphone. I would often use it to talk to old friends online in between recording sessions, so the input level would be adjusted between sessions, and I wouldn't have a way to know where it had been set before. I could also just try singing with less dynamics! Lol.

Posted

The compositions are strong and well-executed. Learning To Fall sounds very much like a Jeremy song, is it? The chorus is damn catchy on that one.

 

Pocketdream has moments where I'm strongly reminded of Kings X.

 

Back to Bassics is fun. Derek Smalls would be proud!

 

Cool reverse reverb on Rubberneck. Love those harmonies.

 

EPs vocals work well with the material, the harmonies in particular are lush. From a mixing perspective, there are times when his vox are right where they should be and other times when they're a bit lost, sometimes in the same line, so maybe some (additional) compression might be called for.

 

Really good work, guys. I know how much work it takes to do an album remotely, so my hat's off to you! You have something to be very proud of here.

 

Well really most of the credit belongs to Paul and Jeremy. They are the real masterminds behind the songs and the mixes, and they've got a great process for remote recording. I'm just happy I was able to help bring the project to fruition. Thank you for the compliments all around!

 

On the note of the vocal mixing, I think the discrepancies are at least partly due to my microphone. I would often use it to talk to old friends online in between recording sessions, so the input level would be adjusted between sessions, and I wouldn't have a way to know where it had been set before. I could also just try singing with less dynamics! Lol.

 

Yeah, I don't think the issue is with the mic being at different settings for different sessions. Like I said, there are times where your vox volume varies quite a bit within one or two lines of each other (and sometimes in the same line). It could be that you're moving your head a lot when you sing? Regardless, it's not like it's the end of the world...just maybe something for you guys to pay attention to next time around. :)

 

And that great process for remote recording is the result of a lot of trial and error! Jeremy and I pretty much learned it together -- we go back at least 10 years as recording buddies. Paul had it pretty well figured out when he joined up!

  • Like 3
Posted

The compositions are strong and well-executed. Learning To Fall sounds very much like a Jeremy song, is it? The chorus is damn catchy on that one.

 

Pocketdream has moments where I'm strongly reminded of Kings X.

 

Back to Bassics is fun. Derek Smalls would be proud!

 

Cool reverse reverb on Rubberneck. Love those harmonies.

 

EPs vocals work well with the material, the harmonies in particular are lush. From a mixing perspective, there are times when his vox are right where they should be and other times when they're a bit lost, sometimes in the same line, so maybe some (additional) compression might be called for.

 

Really good work, guys. I know how much work it takes to do an album remotely, so my hat's off to you! You have something to be very proud of here.

 

Well really most of the credit belongs to Paul and Jeremy. They are the real masterminds behind the songs and the mixes, and they've got a great process for remote recording. I'm just happy I was able to help bring the project to fruition. Thank you for the compliments all around!

 

On the note of the vocal mixing, I think the discrepancies are at least partly due to my microphone. I would often use it to talk to old friends online in between recording sessions, so the input level would be adjusted between sessions, and I wouldn't have a way to know where it had been set before. I could also just try singing with less dynamics! Lol.

 

Yeah, I don't think the issue is with the mic being at different settings for different sessions. Like I said, there are times where your vox volume varies quite a bit within one or two lines of each other (and sometimes in the same line). It could be that you're moving your head a lot when you sing? Regardless, it's not like it's the end of the world...just maybe something for you guys to pay attention to next time around. :)

 

And that great process for remote recording is the result of a lot of trial and error! Jeremy and I pretty much learned it together -- we go back at least 10 years as recording buddies. Paul had it pretty well figured out when he joined up!

 

That was my other guess. I should lay out some tape or something where I record to give me a better gauge of where I am in relation to the mic, and also try not to bob my head. Thank you for the tip!

  • Like 2
Posted

The compositions are strong and well-executed. Learning To Fall sounds very much like a Jeremy song, is it? The chorus is damn catchy on that one.

 

Pocketdream has moments where I'm strongly reminded of Kings X.

 

Back to Bassics is fun. Derek Smalls would be proud!

 

Cool reverse reverb on Rubberneck. Love those harmonies.

 

EPs vocals work well with the material, the harmonies in particular are lush. From a mixing perspective, there are times when his vox are right where they should be and other times when they're a bit lost, sometimes in the same line, so maybe some (additional) compression might be called for.

 

Really good work, guys. I know how much work it takes to do an album remotely, so my hat's off to you! You have something to be very proud of here.

 

Well really most of the credit belongs to Paul and Jeremy. They are the real masterminds behind the songs and the mixes, and they've got a great process for remote recording. I'm just happy I was able to help bring the project to fruition. Thank you for the compliments all around!

 

On the note of the vocal mixing, I think the discrepancies are at least partly due to my microphone. I would often use it to talk to old friends online in between recording sessions, so the input level would be adjusted between sessions, and I wouldn't have a way to know where it had been set before. I could also just try singing with less dynamics! Lol.

 

Yeah, I don't think the issue is with the mic being at different settings for different sessions. Like I said, there are times where your vox volume varies quite a bit within one or two lines of each other (and sometimes in the same line). It could be that you're moving your head a lot when you sing? Regardless, it's not like it's the end of the world...just maybe something for you guys to pay attention to next time around. :)

 

And that great process for remote recording is the result of a lot of trial and error! Jeremy and I pretty much learned it together -- we go back at least 10 years as recording buddies. Paul had it pretty well figured out when he joined up!

 

That was my other guess. I should lay out some tape or something where I record to give me a better gauge of where I am in relation to the mic, and also try not to bob my head. Thank you for the tip!

 

If you watch video of pros in the studio tracking vocals, they're standing at the same distance from the mic at the same angle as much as possible. Even slight variations can result in very different sounding dynamics/presence. Set the gain to the best setting for what would be your loudest possible singing, then let the mixing engineer worry about the levels after. You don't need (and shouldn't try) to control the volume of your vocals while tracking in the studio, it's only live when that's an issue and it's prudent for the vocalist to pull back from the mic during louder passages.

  • Like 2
Posted

Thanks all for giving it a listen! I watched a shitload of Youtube videos about using Logic Pro X to record and master. (there's a channel by "musictechhelpguy" that is particularly thorough).

 

The vocal levels were a bit tricky - I put what I thought was a good deal of compression on them, didn't want to overdo it, but maybe I needed more.

 

EP and Fridge made this a very enjoyable project!

  • Like 2
Posted (edited)

Thanks all for giving it a listen! I watched a shitload of Youtube videos about using Logic Pro X to record and master. (there's a channel by "musictechhelpguy" that is particularly thorough).

 

The vocal levels were a bit tricky - I put what I thought was a good deal of compression on them, didn't want to overdo it, but maybe I needed more.

 

EP and Fridge made this a very enjoyable project!

 

Check for track level volume (and pan) automation, I use this to manually adjust small sections of vocals and instruments that are too loud or soft, rather than trying to overcompress the snot out of the entire track to get it all the same level. If the louder/softer passages are long enough, it may make sense to have them on a sperate track too. This way the compression can be set to the correct amount for that section versus having to compromise on the compression settings for the entire vocal track. Trial and error and getting to know your vocalist's style/needs from a technical mixing standpoint is something that's learned in time working together.

Edited by stoopid
  • Like 3
Posted

Thanks all for giving it a listen! I watched a shitload of Youtube videos about using Logic Pro X to record and master. (there's a channel by "musictechhelpguy" that is particularly thorough).

 

The vocal levels were a bit tricky - I put what I thought was a good deal of compression on them, didn't want to overdo it, but maybe I needed more.

 

EP and Fridge made this a very enjoyable project!

 

Check for track level volume (and pan) automation, I use this to manually adjust small sections of vocals and instruments that are too loud or soft, rather than trying to overcompress the snot out of the entire track to get it all the same level. If the louder/softer passages are long enough, it may make sense to have them on a sperate track too. This way the compression can be set to the correct amount for that section versus having to compromise on the compression settings for the entire vocal track. Trial and error and getting to know your vocalist's style/needs from a technical mixing standpoint is something that's learned in time working together.

 

Automation can be an extremely handy tool. I use volume and pan automation on my guitar tracks fairly often.

  • Like 2
Posted
Anyway, album is called A Harvest of Haggis...if you feel inclined then pop over and have a listen, any feedback gratefully received

 

https://sloppyfootco...rvest-of-haggis

 

Been on my short todo list for what seems like forever, and now that I've discovered it's a free download I'm listening now (and have it for the car, which is where I spend much of my casual music listening time). I'm digging Jack's approach to vocals, there's some passion and honesty that's immediately evident. Is MIke done for good or just stepping away for a bit?

  • Like 1
Posted
Anyway, album is called A Harvest of Haggis...if you feel inclined then pop over and have a listen, any feedback gratefully received

 

https://sloppyfootco...rvest-of-haggis

 

Been on my short todo list for what seems like forever, and now that I've discovered it's a free download I'm listening now (and have it for the car, which is where I spend much of my casual music listening time). I'm digging Jack's approach to vocals, there's some passion and honesty that's immediately evident. Is MIke done for good or just stepping away for a bit?

 

Thank you! Hopefully they’re even better going forward. My new apartment closet is going to become my personal recording booth once I get it set up, which should work better than my old bedroom for keeping levels consistent and such.

 

I can’t speak to Mike’s status, but I’m sure Paul and Jeremy can.

  • Like 1
Posted
There's some smiliarities, but more differences in the vocal styles. For the harder/edgier material I think your voice suits the music more, Mike had a good folk/alt rock voice (similar to my collaborator).
  • Like 1
Posted (edited)

I've listened through 3+ times now. Most of the songs are compositionally well written and professionally performed (sans the occasional vocal part that might be a touch rough). There's definitely some production stuff that distracts me from truly enjoying some of it. The drums are extremely programmy sounding, I'm not sure there's a single measure on the album that has any groove/feel. And the sometimes hyperactive ride and cymbal work, being hard panned, only further distracts and emphasizes the rigid / non groovy nature of the drum parts. Pocketdream comes closer than most tracks to have anything resembling 'feel'. Nice Soundgarden vibe on that track btw. I think you guys need to splurge on a Roland SPD drum pad to perform the drum parts versus mapping them out on a grid.

 

The guitars and bass are sometimes washed out in effects, to their detriment rather than effect/impact.

 

The pros in the mix are the subtle elements that I can hear better on headphones than in the car, like the backing vocals on Sustaining Acceleration near the end that I could barely make out in the car even with the volume turned up. That's also a con I suppose, as I should be able to hear something as important as a backing vocals track even with minor road noise.

 

There's a lot of good ideas and even some refreshing production approach on the songs, but as they say the devil is in the details and there's a lot of unevenness in instrument presence and impact from moment to moment within songs. The mix gets a 'serviceable' grade, perhaps a bit better. It's comprable to what I hear people float as demos nowadays. Home production has evolved to the point that it's expected to be closer to studio than novice, despite our often humble equipment and time constraints. It's just where the yard stick sits.

 

My favorite tracks were "Pocketdream", "Gravity of Fear" [holy f***ing Megadeth tribute lol], and "Juggernaught" [a better mix would really help elevate this one]. There's plenty to enjoy on most of the songs. The mix or vocals or clicky drums prevents me from comitting to the other tracks.

Edited by stoopid
  • Like 2

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