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She's Gonna Miss You
 
Artist Name:
Carlos M. Gomez / SpeedyGeez
  Title:
She's Gonna Miss You
 
Date Posted:
November 2014
 
Genre:
Rock and Pop
Equipment Used:

Dell T7400 8-core Windows PC with 32 GB RAM, Universal Audio UAD-2 OCTO and UAD-2 QUAD cards, M-Audio ProjectMix I/O plus Mackie Control C4 control surfaces, and Focusrite Liquid Saffire 56, running Cakewalk SONAR X3 Producer with SONAR V-Vocal, VX64, and Pro Channel plug-ins, Universal Audio Teletronix, VOG, Fairchild 670, and Ampex ATR102, XLN Audio Addictive Drums and IK Multimedia AmpliTube 3. Blue Blueberry mic. Mackie Big Knob monitor controller, Yamaha HS80M, Samson Studio Dock and laptop speakers, SUV speakers. G&L ASAT Special guitar, Ibanez RKB900VF bass.

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Production Notes & Credits:

"She's Gonna Miss You" is a male vocal rock song done in its entirety by Carlos.

Reviewed By: Marty Peters
Rating: 3
Recording: "Good bones" here, as the real estate agent would say. Carlos has all of the pieces/parts assembled for a successful track, but first we need to polish up a few areas. Starting with the overall sound of the mix, the whole song comes across as somewhat "blanketed," through both our KRK nearfield monitors as well as our Grado Labs SR325 headphones.

As for the individual sound sources, we like that the wide-panned electric guitars leave space for the harmony vocals in the stereo field. The guitar/bass performances are solid throughout the track, and for the most part, the drum programming in Addictive Drums works well.

On the flip side, we felt that the bass guitar intro was awkward, the snare drum programming was a bit "off" (more on this later), and that the lead/harmony vocals were considerably too loud in the mix, resulting in a balance issue.

Suggestions: First off, we thank Carlos for his comprehensive production notes. It is very cool to see how others go about their recording process and we most always come away with something new to try in our own work!

Now let's discuss some fixes. We suggest that Carlos rethink his bass intro. If he is really sold on it, we would urge him to at least redo it; the part seems clipped at the front end to us. As for the snare drum, in his production notes he tells us, "Things I should have done: Better snare strikes, since some seem out of place." Okay, then -- easiest advice we ever gave!

As for the vocals, "seating" vocals in a mix is a fine art indeed. As a rule, we usually set our lead vocal volume to be a few dB above that of the snare drum. If your vocal is too quiet at that level, there's a pretty good chance that your snare drum volume is too low as well. We hear this often at Readers' Tapes, when folks try to "duck" their programmed drums in a mix. Finally, we cannot emphasize enough the advantages of quality mastering. The dull overall sound presented here would unquestionably come alive in the hands of a good mastering engineer.

Summary: Plenty to work with and learn from here. Keep having fun!

Contact: Carlos M. Gomez/SpeedyGeez, cargomez@bellsouth.net
About: Marty Peters

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