| The Cost |    |
This is the first song I've ever written, back at a time when I was still picking up the basics of guitar.
Guitars at start are boomy (ie poor EQ or simply need compressor attention) but as a whole the guitars in this track sound great and the overall production on this track is pretty good.
The recording clarity is good...are you using SM57/SM58? Just curious. And what soundcard are you using?
Only problems I'd have (aside from the distorted guitar EQ/compression) is that your vocals are not compressed or the compressor is not applied very well...they tend to drop out of the mix. The bass guitar should also have a compressor or preferably (in this song) a limiter to keep it tight and in-focus in the style of the music.
To be honest, it just sounds like the speakers or headphones you are mixing on have a slight scoop around lower end of the frequency spectrum somewhere. I don't think it's anything you have done specifically wrong, it's just how it sounds through my Sennheiser headphones (which we all know are unforgiving from a mixing point of view).
I think your vocals are great, really suit the music.
Simple but effective guitaring, good for early stuff. Great job overall, and I look forward to hearing more
The recording clarity is good...are you using SM57/SM58? Just curious. And what soundcard are you using?
Only problems I'd have (aside from the distorted guitar EQ/compression) is that your vocals are not compressed or the compressor is not applied very well...they tend to drop out of the mix. The bass guitar should also have a compressor or preferably (in this song) a limiter to keep it tight and in-focus in the style of the music.
To be honest, it just sounds like the speakers or headphones you are mixing on have a slight scoop around lower end of the frequency spectrum somewhere. I don't think it's anything you have done specifically wrong, it's just how it sounds through my Sennheiser headphones (which we all know are unforgiving from a mixing point of view).
I think your vocals are great, really suit the music.
Simple but effective guitaring, good for early stuff. Great job overall, and I look forward to hearing more
thanks for the comment! it's great to have a review from someone who knows about sound. i'm just getting started in terms of production... and i've never used a compressor or a limiter... could you possibly refer me to a site that has information on their functions? i used a samson condenser mic for this song (although i own a sm58). i'm not sure what soundcard i have.. but i didn't mix/record on the computer, i use a digital 8-track.
thanks for the review, much appreciated!!
thanks for the review, much appreciated!!
haha, nice song man! I've tried to cut out the comments on bad production because except for some standouts, it seems to be the status quo around here. As far as the song itself, I thought it was a good listen.
Quick breakdown of a Compressor.
Imagine the volume level of whatever you have recorded in decibels. Naturally, this level jumps around a bit as you play.
ESSENTIALLY, A COMPRESSOR IS FOR MAKING THE VOLUME LEVELS OF WHATEVER IT IS PROCESSING MORE CONSISTENT. It is essentially 'compressing' the dynamic range, by boosting the lows and reducing the volume 'peaks'. Bear in mind this is not always a good thing. It is easy to overuse compressors and remove all the dynamic expression.
With a compressor, you can set a 'ceiling' at whatever level you choose to try and limit how much the volume level can obtrude above this 'ceiling'. The 'ceiling' you choose is known as the THRESHOLD and is a level in decibels.
Next comes the ratio. Basically, the compression ratio controls *how much* your recorded signal is allowed to move above the threshold. For instance, a compression ratio of 2:1 means that for every 2db in volume your signal actually goes above the threshold the compressor will only actually let it gain 1db in volume. A compression ratio of 4:1 means that the signal must jump 4db to get one 1db louder in real-estate volume.
After this we have three settings to look at to control how sensitive/responsive the compressor is.
Attack controls how quick the compressor is to cut back on the volume of your signal. This speed is measured in ms. For instance, you may want to set a slightly slower compressor 'attack' (eg 20s) if you want to retain the pick attack of an electric guitar. Similarly to remove this for a smoother sound you would set a lower attack time and the pick attack would get squashed. You can see how a compressor affects things musically as well as keeping volume under control.
Hold and Release control how long the compressor keeps the volume at that level and then lets go. Very low hold and release times may cause a 'throbbing' effect where the volume of the signal seems to pulsate because it is changing too often. However, if you are compressing an entire mix you want the compressor to be able to change more quickly because there are so many different parts of the mix needing different attention.
There are more variables - like hard/soft knee compressors. Hard knee simply means that the compressor is more rigid in its volume compensation - whereas soft knee means that the volume level will adjust more smoothly. Hard knee is therefore more relevant to drums etc, whereas strings would benefit better from a soft knee setting.
The last thing is the 'gain' control. This means that you can adjust the level of your input to bring the quieter parts in line with the volume peaks
As for a limiter, this is basically a compressor with a more reinforced 'ceiling'. Rather than simply reducing the volume dynamically, the signal finds it very hard or impossible to jump beyond this point. A punchy bass guitar would thus sit well in the mix with a limiter. Imagine a limiter as a compressor with a 'threshold' of 10:1 or greater to get an idea of the volume 'limiting' going on. A true 'brickwall' limiter has a ration of infinity:1 because the volume can never pass the threshold no matter how high the signal level.
Finally, there are 'multiband' compressors. These are best for mastering a final mix. Essentially, a multiband compressor is just several (generall 3 or 4) compressors that each compress a separate frequency range. Thus, you can compress the bass, lower mid, upper mid, and treble separately. For instance, you can make your bass and kick sound punchier and more consistent, and roll off those horribly loud cymbal transients that you recorded, without crushing the dynamic range of the vocals and guitar sitting in the rest of your mix.
Sorry if any of this sounds complicated! Its been a long day so some of it is no doubt innaccurate, too.
Anyway, I havent included any settings for compressors here because you should research those yourself depending on what kind of sounds/music and instruments you are dealing with. Experimentation is also important!
Hope this is of use
Peace and
Imagine the volume level of whatever you have recorded in decibels. Naturally, this level jumps around a bit as you play.
ESSENTIALLY, A COMPRESSOR IS FOR MAKING THE VOLUME LEVELS OF WHATEVER IT IS PROCESSING MORE CONSISTENT. It is essentially 'compressing' the dynamic range, by boosting the lows and reducing the volume 'peaks'. Bear in mind this is not always a good thing. It is easy to overuse compressors and remove all the dynamic expression.
With a compressor, you can set a 'ceiling' at whatever level you choose to try and limit how much the volume level can obtrude above this 'ceiling'. The 'ceiling' you choose is known as the THRESHOLD and is a level in decibels.
Next comes the ratio. Basically, the compression ratio controls *how much* your recorded signal is allowed to move above the threshold. For instance, a compression ratio of 2:1 means that for every 2db in volume your signal actually goes above the threshold the compressor will only actually let it gain 1db in volume. A compression ratio of 4:1 means that the signal must jump 4db to get one 1db louder in real-estate volume.
After this we have three settings to look at to control how sensitive/responsive the compressor is.
Attack controls how quick the compressor is to cut back on the volume of your signal. This speed is measured in ms. For instance, you may want to set a slightly slower compressor 'attack' (eg 20s) if you want to retain the pick attack of an electric guitar. Similarly to remove this for a smoother sound you would set a lower attack time and the pick attack would get squashed. You can see how a compressor affects things musically as well as keeping volume under control.
Hold and Release control how long the compressor keeps the volume at that level and then lets go. Very low hold and release times may cause a 'throbbing' effect where the volume of the signal seems to pulsate because it is changing too often. However, if you are compressing an entire mix you want the compressor to be able to change more quickly because there are so many different parts of the mix needing different attention.
There are more variables - like hard/soft knee compressors. Hard knee simply means that the compressor is more rigid in its volume compensation - whereas soft knee means that the volume level will adjust more smoothly. Hard knee is therefore more relevant to drums etc, whereas strings would benefit better from a soft knee setting.
The last thing is the 'gain' control. This means that you can adjust the level of your input to bring the quieter parts in line with the volume peaks
As for a limiter, this is basically a compressor with a more reinforced 'ceiling'. Rather than simply reducing the volume dynamically, the signal finds it very hard or impossible to jump beyond this point. A punchy bass guitar would thus sit well in the mix with a limiter. Imagine a limiter as a compressor with a 'threshold' of 10:1 or greater to get an idea of the volume 'limiting' going on. A true 'brickwall' limiter has a ration of infinity:1 because the volume can never pass the threshold no matter how high the signal level.
Finally, there are 'multiband' compressors. These are best for mastering a final mix. Essentially, a multiband compressor is just several (generall 3 or 4) compressors that each compress a separate frequency range. Thus, you can compress the bass, lower mid, upper mid, and treble separately. For instance, you can make your bass and kick sound punchier and more consistent, and roll off those horribly loud cymbal transients that you recorded, without crushing the dynamic range of the vocals and guitar sitting in the rest of your mix.
Sorry if any of this sounds complicated! Its been a long day so some of it is no doubt innaccurate, too.
Anyway, I havent included any settings for compressors here because you should research those yourself depending on what kind of sounds/music and instruments you are dealing with. Experimentation is also important!
Hope this is of use
Peace and
right on man, this makes me smile, i injoyed your voice very much, great job with the lyrics very chetchy i actully cought my self swaying back and forht to this 
im such a nerd
any way awsome on this and very cool on the guitar seeing as how you were just picking up the basics you did an AWSOME job and i will rate for you and this goes on my playlist... btw vox is REALLY good
the other papercut
the doll kind
im such a nerd any way awsome on this and very cool on the guitar seeing as how you were just picking up the basics
you did an AWSOME job and i will rate for you and this goes on my playlist... btw vox is REALLY good the other papercut
the doll kind
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