The We Go Back To Where We Started

Good Morning, Mackolytes,

I’m a bit hung over this morning, so I’m not feeling particularly chatty. Here are the highlights from last night’s session:

My friend likes the album, the songs and the sequencing, as far as it goes. He’s resistant to the notion of leaving it at its current length because he detected a bit of flab in there, though he wasn’t too specific. The transitions are mostly good with a few really obvious exceptions where the volume bloomed out of control due to the volume balancing tool I used, which was more or less what I feared it might do, but I simply didn’t have time to make the changes myself. Next time, I’ll know better.

The big thing is, he really wants me to correct the bum notes. He says the timekeeping is pretty solid and where it fluctuates, it can be dismissed as a ‘feel’ thing. However, the bum notes, and there are several, are holding the album back. He also told me to consider doing one or two of the tracks I’ve been trying to ‘arrange’ as a capella treatments, which makes sense in the case of The Morning Dew, which I had been living with as an a capella number for months before I stapled the recorder and penny whistle bits in, which accidentally changed it from a Celtic war song to a sea shanty.

I don’t know how I feel about some of the suggestions he made for Old Man Saturn. He suggested I give that more time and consider filling the instrumental sequences with my voice, perhaps imitating the instruments instead. He also felt that what I was trying to do with the vocals there doesn’t work because I hadn’t given myself any sort of guide in the music. He said it’s pretty advanced, and I guess I was singing over my head a bit there, but that the things I did wrong could be corrected if I played the melody out on keys to give myself a through-line to follow vocally. That might not be as hard as my brain tells me it is. The problem is, I don’t hear the song any other way. I’m almost wondering if I should be talking to another melodic writer or vocalist to see if they have any suggestions as to how to punch up my vocal performance. Again, my friend wasn’t too specific about that needed to be fixed there, save for some bum notes, some of which I’m aware of, but I suspect I might be missing the point.

He told me I have to retune the 12-string and rerecord the guitar part for All This Time, which he insists is out of tune. He’s probably right. Something about that tune has been bugging me for a while, and that’s probably part of it. That and the vocal harmonies, which really need redoing, as far as I’m concerned.

He also suggested I make sure to use some of the lo-fi demo recording on On The Furthest Shore when I recreate it, and fit the demo in in places, as it will give some interesting sonic variance and will also restore some street credibility. He also demanded I redo the vocals, which were a very flawed one-take thing, based on the time of day I did it.

Finally, he made the simple suggestion that much of this could be corrected with ease if I just applied some auto-tuning and pitch correcting to the individual tracks (if I can get the blasted machine to give me editable backups). He also suggested that, if I make the necessary corrections, he would be willing to offer his services, free of charge, to help me remix the album. I have to assume that this means he truly liked it, and wants to see the album presented in its best light. He also told me not to give away any copies to anyone not involved in the production (i.e. me, potentially him, and ostensibly the band).

I have lost another 3.5 lbs. I am no longer categorized as ‘obese’. I am going to celebrate by eating breakfast sausage on a bun. Shut up. Don’t judge me.

Time to put this post to bed and go borrow some internet to send it out with. You folks have a good day. Thank you for reading.

Eddie.

Don't be shy. Tell me what you really think, now.

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