Korgscrew
Group: Super Admins
Posts: 3511
Joined: Dec. 1999 |
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Posted: June 09 2003, 08:09 |
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I think Bevy wanting to join in shows that maybe doing several versions with different people isn't such a bad idea (perhaps Bevy would like to co-ordinate a second version?).
I hope I'm not too late to point out that there are a couple parts where the MIDI file deviates from what Mike plays on the album, most crucially the underlying bass/guitar riff.
The sequence has it as E E E A B e e e D B B C# E - that third B should in fact be an A (E E E A B e e e D B A E). The same goes for when it moves up - when the riff moves up to the F#, the corresponding note should be changed from a C# to a B, and from an E to a D when it moves up to A.
It's probably a bit late to point out that there's at least one wrong note in the bells (right at the beginning where it plays E - A G# F# E G#, the last G# ought to be an E), but that's not actually much of a problem as a quick edit can sort that out (unless BOOsTER particularly wants to do the part again).
Also, before more people start recording parts, I should say that BOOsTER had the right idea in leaving off all the effects - you were probably all going to do that anyway, but I thought it was worth reminding, so we don't run into any problems!
Really, if you can keep the parts as untreated as possible, that makes it a lot easier to get everything to sit together in the mix, as it could end up a disaster if everyone puts on their own reverb, etc.
Obviously for parts like the distorted guitars, you're going to want to record with distortion - that's no problem! Things like chorus might be ok, but if you can do one version with the effect and one without to give a bit of choice, that'll be even better. Alternatively, if you're adding the effects via a mixer's aux send, you can always record the effects separately.
You can always provide suggested effects settings with the part - that could be the best way if you think the part benefits from a bit of digital delay or something like that, as it's likely I'll be able to duplicate that very easily (delay could be problematic otherwise, as what might sound great on its own can turn into an indistinct mess in a more complex mix, which would be really unfortunate if you've gone to a lot of trouble to record the part).
If you like to record with an analogue compressor/limiter to stop your recording device from overloading, that's fine, though it's best if any compression is kept really, really gentle, as it's much easier to add more than get rid of the effects of it being overdone - the same goes with stomp-box compressors for guitars and basses if anyone likes using those, they should be fine as long as you're sure that it's making an improvement to the sound and not just squashing the life out of it. I'd not recommend bothering with any digital compression (which even if it is built into a digital mixer, is going to be acting after the A-D stage and therefore isn't any different to adding it to the digital recording at the mix stage), as any dynamics processing done after recording is likely to be more of a hinderance than a help, though by all means provide a compressed and an uncompressed version, if you have a particularly distinctive sounding compressor that you think improves the sound of your part.
I think that's about all...
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... I am only sincerelly so pls don't take it as offense 
