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Long Time Gone
Artist Name:
Andrew Coonrad
Long Time Gone
Date Posted:
January 2016
Rock and Pop
Equipment Used:

Ramsa WR S4424 mixing console, PC with Motu 24 i/o interface running w/ Pro Tools 10 and Waves plug-ins, OverLoud BREVERB2 reverb, and iZotope Ozone 5 mastering suite plug-ins. Universal Audio LA-610 mkI preamps, dbx 262 stereo compressor (x2), Drums: Yamaha Custom Maple with random cymbals, RĂ˜DE NT5 (overheads), Shure Beta 52 and homemade speaker-in-reverse (kick), Audix i5/Shure Beta 57 (snare), Sennheiser MD421/Shure SM7 (toms), Cascade Fatheads (stereo room). Guitars: Gibson Les Paul Special/Fender Mexican Tele (with upgraded pickups) through Fender Blues Deluxe Reissue with SM57/MD421 and an NT5 faced away for room tone. Bass: Fender Precision bass (upgraded pickups) DI through Universal Audio LA-610 and using SansAmp plug-in. Vocals: SM7 through LA-610. Snare enhanced with FXpansion BFD2 Ludwig Black Beauty sample using Massey DRT plug-in. Audio Technica ATH-M50 headphones and "Alesis Monitors with a crappy old 8" sub."

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Production Notes & Credits:

"Long Time Gone" is a male vocal rock song, Andrew handled it all at his home studio.

Reviewed By: Marty Peters
Rating: 4
Andrew has submitted a strong O.M.B. effort here, dripping with a cool sixties vibe. In his production notes, he tells us that he composed the song on the bass guitar, which we assume to be his primary instrument. At tracking time, he laid down a scratch bass part to a click and then proceeded to add his guitars, drums and vocals, conceding that tracking drums while also engineering can be a tall order. So, now that we have the modus operandi down, how's about the results?

Well, for a man wearing all of the hats, Andrew's results are pretty impressive. The drums certainly capture a mid-60s sound, equal parts Beach Boys and British Invasion, and the engineering job sounds fine to us! The bass is fairly strident, particularly during the intro, but its bright nature does help keep the track's energy high. We also liked the wide panned electric rhythm guitars here; the panning scheme leaves a lot of room for the myriad vocals in the mix.

As for the vocals, through our monitors the lead vocal at times took on a sharpness that was wearing as the song progressed, less so on the backing vocals.

Suggestions: In our experience, the Shure SM7/Universal Audio 610 is a stellar combination for just about any voice. The key to the vocal problem may lie in a tidbit of info Andrew shared in his equipment notes, where he tells that he used "TONS of makeup gain" on the compressor side of the 610. If the lead vocal was compressed to a degree that required that much post gain, perhaps we are hearing a sibilant type of artifact? The SM7 is certainly capable of handling the loudest of vocal performances, so the reasoning behind that much compression is a bit of a mystery. In any event, applying some parallel compression to the proceedings would be much more effective in our opinion.

Summary: A fine effort.

Contact: Andrew Coonrad,
About: Marty Peters

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