| Breaking Me |    |
This is a song my band recorded that we never really finished. Thanks goes out to Foggy and Cougs on vox. Produced by John Cougar.
Enjoy!
Enjoy!
I like the singing 'melody' and the way it is sing and kind of yell , and there is a part where it sounds a bit commercial wich is ok for my point of view , I wish the rest would be less 'dark' and maybe more positive but I understand the concept of the song where its ask somehing 'why are you breaking me' and the riff to accentuate it. This is a good song , well done ...
Good song,change the voice.
call me soft but i dont find even this hard rock any good, to me this is hard rock and i dont really like it, BUT, looking at it from a UNBIAS view, its a really good song except that part with "Why are you breaking me" -- "its already broken" that part might even of wrecked the song for lots of people, but well pointed out hillar, the chords and the singer DO really work
Good mate, I think it's way better than "softer" shtuff I've herd, the mix is OK, i really like the song. Keep it up!!!! 
Good they all work togother but ya I can hear almost a little Linkin Park in it especially at 40 seconds in ot so but sounds good.
| don't listen |
don't listen to anyone who tells you otherwise - this is quite a nice song, and i am sure you are aware of the recording what nots - musically it is perfect ( sing could use a retry on singing, but he ain't THAT bad, a 'B' at least ). This style of music relies on the feeling, and it has the feeling. the only grip i have is you only play a little more after the bridge - it needs a little expanding from the bridge on, but other then that - great work - my cup of tea - loved it. i would love to have a copy of a newly recorded version - if you ever get around to it - or a non mp3 version would probably sound better too. anyways - nice tune man!
_Dave
www.dopestjunglebeats.com
_Dave
www.dopestjunglebeats.com
| vocals |
Interesting choice of vox backups, the octave. You could also use a fifth or a 3rd, as well as a unison (same note) but a very different voice than that singer. Id' like to hear a singer who doesn't remind me of someone else, but I'm not sure who. I could sort of see the 3rd eye blind reference.
A screamer would work on this, too. Get one that studies voice, because if you don't they'll hurt themselves in short order because they can't prevent it. I've missed notes, and it REALLY hurts. Like getting punched in the throat.
I was thinking about this kid who wanted us to record him, and he made ever effort to sound like Eddie Vedder, but it was all hideously breathy, like Marilyn Monroe singing "Happy Bithday." I'm sure the sound guy was just thrilled with her.
I want the vocalist to stand out somehow. I remember the phrase, but I don't recall the singer much. Maybe add a girl or a guy with a much different voice?
At the 1:45 mark, with the phrase, "Why are you breaking me?" the timing of the "mult" (*), one of the start of the tracks is a bit late (or early). I wasn't sure at first, but then I went back...not sure I like the overloaded vocals at 1:55. Just after the three minute mark, I could see using some sort of effect on the backup vox, they sound totally raw to me. I think the effect you want to achieve is a bit like AM radio.
However, I know Tom Petty likes to sing with a cheep Shure 57 (instrument mic), not the 58s everyone uses live. And I heard next to nothing on his voice when I saw him live. What would you do? He sings even, there isn't much dynamic range, so you could get by without compression since there's few to no vox effects. He'd sound silly with a churchy echo.
For that, kill the high and and all the lows, and crank the mids (careful of feedback if you're live-you can also feedback in mids and lows, it's not always guitar/vox shreik.) to 11. If you have feedback problems, compress some. That's a big problem in the "church echo ." vocal sound that I like-it can be hard to control at loud volumes. I found out from working as a sound guy in a Greek club that reverb can be a problem with loud volume (I measured 118 once).
*mult-as in multiple vocal tracks for depth and singing the exact same thing twice-Cheryl Crow "Soak up the sun." or whatever it's called does it the whole time, I think). Jimmy Page did it on a guitar part at least once.
So he played the exact same guitar part twice. Because it's not a duplicate copy of the track before, it has neat tiny differences, which of course, is the pain part. Because it still has to match exactly.
If one part comes in a hair early or leaves a bit late, then there's a space there. It's the kind of thing that happens when your ears get tired because you've worked on it for ten hours straight. Or if you're tired. This morning I tried to press the elevator button for the floor I was on, and then wondered why the elevator didn't move. I did that again an hour later. So in that case it's easy to miss.
Look at the obviously squeaky bass drum pedal in the intro of "Since I've Been Loving you." (Led Zeppelin), or the typing noise in Janis Joplin's "Trouble in Mind"--also covered by Sam Cooke, and it's incredible (album:"The Rhythm and The Blues").
OK, the Joplin one is blatantly obvious, so I'm guessing they didn't use headphones for reference (you'd have heard it thru the mic). Now, would this have shown up on VU meters (the analog gauges with the needle that goes left to right, like an LED, to tell you that you have sound, even if you can't hear it--it narrows down what's wrong easier; if you see the lights move, then you know the CD/tape player is playing, at any rate) by itself?? If you don't see any lights jumping around, then the tape/cd might not even be working, see?
It was either Page or the guy who played guitar on Steely Dan's "Reelin' in the years" which anal people and engineers adore... "Reelin' " was a one-take guitar part, tho. :
A screamer would work on this, too. Get one that studies voice, because if you don't they'll hurt themselves in short order because they can't prevent it. I've missed notes, and it REALLY hurts. Like getting punched in the throat.
I was thinking about this kid who wanted us to record him, and he made ever effort to sound like Eddie Vedder, but it was all hideously breathy, like Marilyn Monroe singing "Happy Bithday." I'm sure the sound guy was just thrilled with her.
I want the vocalist to stand out somehow. I remember the phrase, but I don't recall the singer much. Maybe add a girl or a guy with a much different voice?At the 1:45 mark, with the phrase, "Why are you breaking me?" the timing of the "mult" (*), one of the start of the tracks is a bit late (or early). I wasn't sure at first, but then I went back...not sure I like the overloaded vocals at 1:55. Just after the three minute mark, I could see using some sort of effect on the backup vox, they sound totally raw to me. I think the effect you want to achieve is a bit like AM radio.
However, I know Tom Petty likes to sing with a cheep Shure 57 (instrument mic), not the 58s everyone uses live. And I heard next to nothing on his voice when I saw him live. What would you do? He sings even, there isn't much dynamic range, so you could get by without compression since there's few to no vox effects. He'd sound silly with a churchy echo.
For that, kill the high and and all the lows, and crank the mids (careful of feedback if you're live-you can also feedback in mids and lows, it's not always guitar/vox shreik.) to 11. If you have feedback problems, compress some. That's a big problem in the "church echo ." vocal sound that I like-it can be hard to control at loud volumes. I found out from working as a sound guy in a Greek club that reverb can be a problem with loud volume (I measured 118 once).
*mult-as in multiple vocal tracks for depth and singing the exact same thing twice-Cheryl Crow "Soak up the sun." or whatever it's called does it the whole time, I think). Jimmy Page did it on a guitar part at least once.
So he played the exact same guitar part twice. Because it's not a duplicate copy of the track before, it has neat tiny differences, which of course, is the pain part. Because it still has to match exactly.
If one part comes in a hair early or leaves a bit late, then there's a space there. It's the kind of thing that happens when your ears get tired because you've worked on it for ten hours straight. Or if you're tired. This morning I tried to press the elevator button for the floor I was on, and then wondered why the elevator didn't move. I did that again an hour later. So in that case it's easy to miss.
Look at the obviously squeaky bass drum pedal in the intro of "Since I've Been Loving you." (Led Zeppelin), or the typing noise in Janis Joplin's "Trouble in Mind"--also covered by Sam Cooke, and it's incredible (album:"The Rhythm and The Blues").
OK, the Joplin one is blatantly obvious, so I'm guessing they didn't use headphones for reference (you'd have heard it thru the mic). Now, would this have shown up on VU meters (the analog gauges with the needle that goes left to right, like an LED, to tell you that you have sound, even if you can't hear it--it narrows down what's wrong easier; if you see the lights move, then you know the CD/tape player is playing, at any rate) by itself?? If you don't see any lights jumping around, then the tape/cd might not even be working, see?
It was either Page or the guy who played guitar on Steely Dan's "Reelin' in the years" which anal people and engineers adore...
"Reelin' " was a one-take guitar part, tho. :
This is a very strong track!
Excellent production even after uploading five years ago!
Listened to your other music and must say, it's worth it to listen to such creative work... hats off!
Excellent production even after uploading five years ago!
Listened to your other music and must say, it's worth it to listen to such creative work... hats off!
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