Current Tape Reviews
Artist Name: Three Mile Cross |
Title: Wild Spirit Child |
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Date Posted: September 2012 |
Genre: Rock and Pop |
Equipment Used:
Windows PC with PreSonus FirePod running Steinberg Cubase 5, Waves and Universal Audio UAD plug ins, iZotope Ozone, and Toontrack EZdrummer; Event ASP5 monitors; Blue Bluebird and Shure SM57 mics, Fender Telecaster, Fender Hotrod amp.
Production Notes & Credits:
"Wild Spirit Child" is a male vocal rock song. Jez Cox was the one man band and author, Three Mile Cross being his performing name. Jez tell tells us that he wrote the tune some five years ago and recently decided to share it with us. The whole thing was done at his home studio in the UK.
Reviewed By: Marty Peters
Recording: As for the recording itself, we found that the non-rhythm section areas of the track worked quite well. Jez's vocals were well recorded and delivered without artifact and the electric guitars sound pretty darn good, with the exception of the added electric during the chorus sections of the song. Through our monitors this added electric does succeed in giving the track a substantial energy boost, as it was likely intended to, but overwhelms the mix due to excessive volume.
Regarding the rhythm section, we found that the bass guitar was placed too far back in the mix to rightly propel the track, and that the drums, particularly the kick, had an unflattering "boxy" sound.
Suggestions: Fortunately for Jez, the fixes here are fairly simple and straightforward. In order to lower the volume of the electric "power" guitar in the chorus while still retaining the punch, we suggest that Jez either double track it in real time using slightly different tone/amp settings or apply a short delay effect to the guitar and return the effected "wet" signal to one side of the stereo field while panning his "dry" signal to the opposite side. After either of those approaches, the guitar should provide more bulk at a lower volume.
We would also urge Jez to revisit his Toontrack EZdrummer program and search out some beefier tones. Failing that, his Waves and Universal Audio plug ins are certain to have sufficient eq firepower to get those drums rocking. Boxy tones are often centered in the 500 Hz range, so start there and sweep around the frequencies, subtracting as necessary. Lastly, adding a dB or two of volume to the bass should bring the entire mix into balance.
Summary: Right then Jez, off you go!
Contact: Jez Cox/Three Mile Cross, jcoxuk@gmail.com
Regarding the rhythm section, we found that the bass guitar was placed too far back in the mix to rightly propel the track, and that the drums, particularly the kick, had an unflattering "boxy" sound.
Suggestions: Fortunately for Jez, the fixes here are fairly simple and straightforward. In order to lower the volume of the electric "power" guitar in the chorus while still retaining the punch, we suggest that Jez either double track it in real time using slightly different tone/amp settings or apply a short delay effect to the guitar and return the effected "wet" signal to one side of the stereo field while panning his "dry" signal to the opposite side. After either of those approaches, the guitar should provide more bulk at a lower volume.
We would also urge Jez to revisit his Toontrack EZdrummer program and search out some beefier tones. Failing that, his Waves and Universal Audio plug ins are certain to have sufficient eq firepower to get those drums rocking. Boxy tones are often centered in the 500 Hz range, so start there and sweep around the frequencies, subtracting as necessary. Lastly, adding a dB or two of volume to the bass should bring the entire mix into balance.
Summary: Right then Jez, off you go!
Contact: Jez Cox/Three Mile Cross, jcoxuk@gmail.com
About: Marty Peters
