thanks for the listen and detailed comments.
Yeah, there is L/C/R plus the M/S going on throughout.
As to the frello track, my son is an avowed mono-ist. There are over 20
layers (overdubs if you will) to his part which he would have recorded and
listened to in mono. So when he sent me the files
and I decided to render them in stereo, it was really like a mosaic of bits and pieces
that I had to put into their respective positions. Sometimes it is a phrase or
just a note or two, and it was really up to me to choose where each of such
fragments went. When you add verb and delays, the result is as you hear it.
Joe did the drums in his basement in CT. He gave me the following mic list:
Kick SM 52 inside
Kick Yamaha Subkick outside
Snare top 57
Snare bottom SM 81
Hat SM 81
OH 414 TL 2X
Room 414 BULS set to Omni
I suppose because the drum part is relatively straightforward, and there
are only two toms hits (in the final bar), there is only the hats and OHs
to provide any hint of spread. But with your comments in mind I have
adjusted the drum mix for scope and upped both Joe’s room track as well as the IR
Regarding the bass (and my original drum part, which Joe chose to replicate)
I was going for a groove along the lines of Fleetwood Mac’s Dreams.
My own view of grooves is that they work because they are simple and the
simplicity provides the solidity.
So, here the bass is deliberately simple. However, your comment about my
bass parts in general–ouch!! Actually, my bass parts take up most of my recording time.
My ego is in the ICU. They expect me to recover but with permanent scarring!
As I sing in this track, “I’ll do better when I try next time.”
Thanks again for the comments, all good.