“yamaha drums, lp conga, djembe, midimini (moog) , guitar, piano plug in, luck, skill, vodka”.
Reviewed By: Marty Peters
Recording: All hail the mighty microchip! Michael did his thing in Miami, recording conga, djembe, and some drums on stage before a gig, while the guitar part was played and recorded in Los Angeles and the vocals originated in Montreal. Thanks to the internet, global recording is becoming more and more a reality. Amazing!
Sadly, however, in the case of “The Room”, the whole may have fallen a bit short of the parts as a mix. While all of the sound sources succeed on their own, in our opinion they fail to blend well together. The keyboard has an overtone in the low mid frequency that conflicts with the vocal, and its volume dominates the mix when it is in play. We also found the ambience applied to the vocal to be separate from the other instruments to the point of discontinuity. The bass (not sure of the source) was also ambiguous to our ears. Is it a drum? Synth perhaps? Hard to tell in the mix.
Suggestions: “The Room” is a creative piece of work with a sophisticated sound, and Michael certainly seems to be well above novice level as a recordist, which leads us to the always tricky topic of artistic vision. This would not be the first time that we have received a submission from an accomplished recording musician that presents itself somewhat “off” by design. In fact, it is often the more advanced talent that lead the charge here. Philip Glass, anyone?
Nevertheless, our mission is to promote solid recording techniques for all, so to that end we would suggest the following to Michael. Number one: please list your monitor speakers so that we have at least a ghost of a chance at guessing what it might be that you are hearing. Number two: remember that the joke is only funny if you get it. Who your target audience might be is a legitimate concern given the massive amount of music that is currently flooding not only the record industry, but also the Web. Please understand that one person’s idea of “creative” may not be the same as another’s, and that can be potentially risky given your career designs.
As for us, we would love to hear the piano lower, sort out the frequency “over ring” problem between said piano and the vocals, and present the bass in a way that gives it an identity. Lastly, we would urge Michael to establish a cohesive overall ambience for his track.
Summary: Send it back to the blender.
Contact: Michael Feldman, email@example.com