Suddenly Its Summer
Up until Monday, the last bits of clinging gray refused to be pulled away and then suddenly, today and yesterday, its as if they never existed; a clear warm (hot, even!) summer without warning.
Today, I made significant progress on the redesign of the website. Talked to Speakeasy. Hoping to go online tomorrow night before I go to sleep with a version in which this blog will play a significant role.
We got the second reference master back from JC and listened to it. We are really almost there. I would almost describe what we're doing now as "finishing touches".
Work was slow but steady. Just about perfect excepting getting out a little late. Amy showed up near the end of the shift to carouse. When she's in her up modes, she brightens the room she's in.
For history's sake, I'll post the e-mail to Jon here:
Jon,
We just listened to the reference CD you gave us. I have some notes here for you, but first I just wanted to say that we both thought that you've done a great job and that we're really almost there.
Come Too Far:
-First of all, the song sounds perfect.
-This is only about the transition: maybe lose three seconds from the end (WCDA could come in at approximately 4:32)
WCDA:
-I don't know exactly what you can do about this, but we thought the beginning sounded a little quiet compared with the end of CTF. Obviously the end of CTF is the peak vs. the beginning of this song, which is just about the quietest part.
-One thing that might help in regards to this is a comment Chris had about this song is that its okay if we hear the compressor "pump" a little between when there are no vocals and when they are there (which causes such a significant volume differential). Maybe that kind of approach would give permission to get the volume up at the beginning
-Contrary to the above, we thought the reduction in compressor distortion between this version and the last was exactly what was needed and we'd like to keep that no matter what happens with the above.
switch: Right idea, but let's not hear the fade at the end of WCDA before You Make Me Worry comes in. Let the first sound of YMMW cut off the hiss of WCDA before fading it out.
YMMW:
-Sounds just perfect. Great job!
switch: At the end of YMMW, let the last tom hit decay before the first sound of Farewell Joel Dean starts in (it's this rapidly descending low pitch that the drum made). Besides that, we think the drone at the start of FJD goes on exactly long enough.
FJD:
-This song is done. Again, you nailed it.
switch: Nice.
PS:
-Whatever the change you made is, its perfect. This song now sounds exactly like it did when we were mixing it and were in love. Maybe the best of the lot.
switch: Nice.
Act of Violence:
-whatever you did to reduce the cymbal wash and bring out the bass sounds really good. We're almost there. Maybe just a little further in the same direction.
switch: AoV ends well, but let some of the noise that we gave you before the guitar comes in at the start of Angel be there. Even that little second (or however long you have) would be a nice breath before the start of the song.
Angel:
-Totally done. Again, right on.
switch: Perfect.
Tired Eyes:
-To our great relief: totally done. At last and despite our mucking around, it sounds great!
switch: Totally not how we were picturing it, but just perfect -- bringing in the trombone as the first sound you hear. We never would have thought of this, thanks!
Welcome Home:
-Track marking (when the number switches) should be earlier: when the guitar first comes in, not the drums
-Change in bringing out bass is good. More if you can. We are really okay with that drum breakdown being impolite. That's kind of how we wanted it.
-Amount left at end is just exactly right.
Overall: We are really close. This version sounded more like how its sounded in our heads than ever before. All the things here are small tweaks. We are betting that the next round will be it.
We can't say it enough: Thanks!
Greg
Today, I made significant progress on the redesign of the website. Talked to Speakeasy. Hoping to go online tomorrow night before I go to sleep with a version in which this blog will play a significant role.
We got the second reference master back from JC and listened to it. We are really almost there. I would almost describe what we're doing now as "finishing touches".
Work was slow but steady. Just about perfect excepting getting out a little late. Amy showed up near the end of the shift to carouse. When she's in her up modes, she brightens the room she's in.
For history's sake, I'll post the e-mail to Jon here:
Jon,
We just listened to the reference CD you gave us. I have some notes here for you, but first I just wanted to say that we both thought that you've done a great job and that we're really almost there.
Come Too Far:
-First of all, the song sounds perfect.
-This is only about the transition: maybe lose three seconds from the end (WCDA could come in at approximately 4:32)
WCDA:
-I don't know exactly what you can do about this, but we thought the beginning sounded a little quiet compared with the end of CTF. Obviously the end of CTF is the peak vs. the beginning of this song, which is just about the quietest part.
-One thing that might help in regards to this is a comment Chris had about this song is that its okay if we hear the compressor "pump" a little between when there are no vocals and when they are there (which causes such a significant volume differential). Maybe that kind of approach would give permission to get the volume up at the beginning
-Contrary to the above, we thought the reduction in compressor distortion between this version and the last was exactly what was needed and we'd like to keep that no matter what happens with the above.
switch: Right idea, but let's not hear the fade at the end of WCDA before You Make Me Worry comes in. Let the first sound of YMMW cut off the hiss of WCDA before fading it out.
YMMW:
-Sounds just perfect. Great job!
switch: At the end of YMMW, let the last tom hit decay before the first sound of Farewell Joel Dean starts in (it's this rapidly descending low pitch that the drum made). Besides that, we think the drone at the start of FJD goes on exactly long enough.
FJD:
-This song is done. Again, you nailed it.
switch: Nice.
PS:
-Whatever the change you made is, its perfect. This song now sounds exactly like it did when we were mixing it and were in love. Maybe the best of the lot.
switch: Nice.
Act of Violence:
-whatever you did to reduce the cymbal wash and bring out the bass sounds really good. We're almost there. Maybe just a little further in the same direction.
switch: AoV ends well, but let some of the noise that we gave you before the guitar comes in at the start of Angel be there. Even that little second (or however long you have) would be a nice breath before the start of the song.
Angel:
-Totally done. Again, right on.
switch: Perfect.
Tired Eyes:
-To our great relief: totally done. At last and despite our mucking around, it sounds great!
switch: Totally not how we were picturing it, but just perfect -- bringing in the trombone as the first sound you hear. We never would have thought of this, thanks!
Welcome Home:
-Track marking (when the number switches) should be earlier: when the guitar first comes in, not the drums
-Change in bringing out bass is good. More if you can. We are really okay with that drum breakdown being impolite. That's kind of how we wanted it.
-Amount left at end is just exactly right.
Overall: We are really close. This version sounded more like how its sounded in our heads than ever before. All the things here are small tweaks. We are betting that the next round will be it.
We can't say it enough: Thanks!
Greg
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