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The Sorry Song
 
Artist Name:
Michael Flores / Gidgets Ga Ga
  Title:
The Sorry Song
 
Date Posted:
December 2015
 
Genre:
Rock and Pop
Equipment Used:

Core 2 Quad PC with Universal Audio UAD-2 QUAD card and Apple MacBook running Steinberg Cubase 4 & 5 with Native Instruments Guitar Rig 3, Waves L3, IR1, R-Bass, and R-Vox, Audio Ease Speakerphone, PSP 42 delay, and the following UAD-2 plug-ins: 1176, LA-2A, Fairchild 670, Helios Type 69, Neve 88R, Neve 1081, EMT Plate 140, Cambridge, Pultec Pro, SPL Transient Designer, Little Labs IBP, Precision De-esser. Neotek Series 1E mixing console, John Hardy M1 mic preamp, Yamaha NS10 and ADAM Audio A7 monitors, AKG Headphones. Drums: DW 5 piece with Zildjian & Sabian cymbals, miked with AKG D112, Shure SM98, SM57, Audio-Technica AT4033, Neumann U87. Bass Guitar: Fender 1969 Precision Bass, Ampeg Vintage SVT Head and 2x15 cabinet, SWR Baby Blue, Radial J48 DI box. Guitars: Martin DX-1, Fender Koa Stratocaster, 1972 Fender Deluxe Reissue Telecaster. Guitar Amps: Fender Pro Junior, Vox AC15CC2, Hi Watt Lead 30, Fender Hot Rod Deluxe, 1965 Magnatone Estey 1 x 12. Guitar Effects: Dunlop UniVibe, Ibanez Tube Screamer. Miked with Neumann U89, Beyer M88, Sennheiser MD421, Shure SM57, Shure KSM32. Vocals miked with Neumann U89. "The studio is acoustically treated with bass traps, diffusers and absorbers from Auralex Acoustics."

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Production Notes & Credits:

"The Sorry Song" is a male vocal rock tune. The song was recorded, engineered, mixed, remixed, mastered and co-produced at Asylum Audiowerks (Brien's basement studio) by Brien Shaw and Michael Flores. Michael wrote the song, played the guitars and sang the vocals. Zac Zidron played bass and Larry Beers laid down the drums. The song was arranged by Gidgets Ga Ga.

Reviewed By: Marty Peters
Rating: 3
Michael and the band have submitted a cool energetic track here, with good performances all around. Unfortunately there are some issues in the mix that are keeping the song from reaching its full potential, in our opinion.

In an attempt to evaluate the individual sound sources in "The Sorry Song" we were continually stymied by a "clicky" metallic veneer that seemed to have invaded the entire mix. Starting with the lead vocal, we are presented with a thin, smeared, and sibilant tone. The same effect is also present on the kick drum and the guitars to a lesser degree. Too bad, because under it all is a fine effort.

Suggestions: Where and when in the recording/mixing/mastering chain all of this occurred is anyone’s guess. Michael has listed a plethora of plug-ins that were used during the project, and every single one of them comes with an impeccable pedigree. That said, how these various plug-ins were applied could have a great deal to do with the troubles here.

We would urge Michael to return to his original tracks without any processing, and begin to reassess his mix. Sibilance this pronounced would clearly be evident from the get-go, and if it was, the whole process should have stopped long enough to try different mics or positioning. If, however, the problems were due to incorrect or overdone processing, stripping away the effects may provide some answers as well. Stacking effects can be tricky and it can take extensive experimentation to perfect.

Lastly, despite the quality of the ADAM monitors (and the familiarity of the NS10!) and the purported treatment of the room, we have to wonder if the overall thinness of the mix could have come from issues at the mix position. Just because a room has stuff on the walls doesn’t mean it sounds right.

Once again, we have to stress the importance of A/Bing mixes against other recordings of a similar genre, preferably on several different speaker systems. We know that there is a quality track in here... a second look will likely bring it to the light of day.

Summary: Worth a remix!

Contact: Michael Flores / Gidgets Ga Ga, contact@gidgetsgaga.com
About: Marty Peters

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