Recorded on Pro Tools (computer system not described). Instruments: Korg M61 keyboard (direct), Selmer Paris Mark VI alto sax (miked with Shure SM67), Fender Strat Plus Ultra, Gibson ES 125T, Fender P-Bass (processed through a Line 6 POD X3).
Production Notes & Credits:
"BBQ Boogie" is a jazz instrumental, Nelson played and recorded all of the instruments, minus the drums which were played by Sully Sullivan and recorded by Dave Fibiger at another studio.
Reviewed By: Marty Peters
Recording: Nelson has submitted a nice uptempo piece with some fine performances all around. As for the sounds, well, it's a bit of a mixed bag...
The track starts out strong with two well-recorded and nicely panned saxes doing a harmony -- the cat can flat-out burn on the sax, folks! While we have heard better "faux" Hammond organ sounds than what Nelson coaxed from his Korg keyboard, the part serves its purpose in the mix. Unfortunately, the same cannot be said for the steel drum sound that enters at approximately 1'20". To our ears the steel drum sound is not only artificial, but its inclusion severely disrupts the good energy that the track had built up.
The rhythm section was also a tad confusing. While we love the killer funky bass performance, the drums have such a huge room ambience that they seem disconnected from not only the bass, but from the rest of the mix in general. Compounding this push-pull is the inclusion of a left-panned, dry-as-a-bone electric guitar, which seems to throw the stereo balance for a loop at about the 2'08" mark.
Suggestions: First off, kudos to Nelson for some great chops; the sax and bass playing here is as good as any that we have heard during our tenure at Readers' Tapes. That said, the wearing of so many hats can be a tough sled, as they say up in our neck of the woods.
Our main suggestion to Nelson centers around the ambience of the drum track. While we are all for collaboration and jobbing out sound sources to others who may be more qualified, some artistic vision must be agreed upon before proceeding. Whether or not Nelson "ordered" up the extra-large drum sound from Dave and Sully is anyone's guess, but that is indeed what he got. As a producer, his job at that point was to find a way to integrate the remaining sound sources with the drums to create a unified sound... or to ask the fellas for another drum mix with less ambience.
As for the steel drum sound, we again would suggest Nelson put on the producer's hat and ask if that part is really bringing anything to the table. To our ears the track would have been better without it.
Summary: Those hats can get heavy sometimes, but wearing them improves with practice.
Contact: Nelson Rudiak, email@example.com