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greetings community

I took all the feed back from my last submission and tried to apply to this tune
Recorded my band this time on my Tascam DP 32 port-a studio
Used different mics in different tracks
Used different pre Amps
Reduced hissss from to high of gain
Panned equal sounding things
Centered bass and lead vocal
Mastered my final mix in Reaper adding volume and some Sound Toys reverb I got for free. (Good tip)

Anyhow. Let er rip

https://recording.o…

Attached files deck hands daughter.mp3 (4.8 MB) 

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audiokid Wed, 12/20/2017 - 10:03

Ben Davis, post: 454612, member: 50672 wrote: Mastered my final mix in Reaper adding volume and some Sound Toys reverb I got for free. (Good tip)

Nicely done.

PS, if I was to be critical, the violin is a bit forward in parts, I think a bit upper mid reduction and maybe a tad more reverb just on the violin would tame it a bit.

Ben Davis Sat, 02/17/2018 - 20:42

Boswell, post: 455857, member: 29034 wrote: Great track - I like it. It's similar to and in the same key as Brad Paisley's '">Whiskey Lullaby

The problem I hear that hasn't been mentioned above is that the compression on the vocal is causing some pumping on the instruments. This may be due to the MP3 process to put it on this site.

Thanks for this input. I still need to eat train for “pumping”.

Boswell Sun, 02/18/2018 - 07:27

When deciding to add compression, it's always a delicate balance of how much and in which path to add it. It is not possible to use a single point of compression to control the balance between tracks of a song and at the same time act as a soft limiter on the overall mix.

Too much compression on the individual tracks results in the instruments getting out of dynamic balance between themselves and with the vocal. Too much in the final two-track mix and you get the effect you have here: the loudest source in the mix (instrument or vocal) triggers the compression, taking all the others with it. It's this that creates the "pumping" effect.

That said, it's often the case that tracks that sound good when played on the originating computer sound over-compressed when delivered to others via MP3 from an internet site. The File Upload mechanism here on RO delivers better dynamics than Soundcloud and most other commercial sites, which is why we advocate its use for presenting mixes for critical listening.

Ben Davis, post: 455858, member: 50672 wrote: Thanks for this input. I still need to eat train for “pumping”.

I would like to see that - you must have strong teeth.

Ben Davis Sun, 02/18/2018 - 23:03

Boswell, post: 455865, member: 29034 wrote: When deciding to add compression, it's always a delicate balance of how much and in which path to add it. It is not possible to use a single point of compression to control the balance between tracks of a song and at the same time act as a soft limiter on the overall mix.

Too much compression on the individual tracks results in the instruments getting out of dynamic balance between themselves and with the vocal. Too much in the final two-track mix and you get the effect you have here: the loudest source in the mix (instrument or vocal) triggers the compression, taking all the others with it. It's this that creates the "pumping" effect.

That said, it's often the case that tracks that sound good when played on the originating computer sound over-compressed when delivered to others via MP3 from an internet site. The File Upload mechanism here on RO delivers better dynamics than Soundcloud and most other commercial sites, which is why we advocate its use for presenting mixes for critical listening.

I would like to see that - you must have strong teeth.

EAR Train! Oops. Thanks for this info