#47080
Just Lisa
Participant

    Hi John, thank you for the feedback. The plucked strings are actually the di guitars from verse 2.
    In my other version, I added real string parts (synths) because that's what the song said to me.
    The chorus was the Lewitt mic take and a chorus plug in. I ditched that when I added all the other musical elements.
    I also added some things to fill the gaps -- that's why they're there. (A blank canvas to be filled or a large wall to be tagged?) The real trick is to fill the gaps with something that doesn't pull the listener out of the feel of the song, I think. For me, arranging is one of the most intriguing aspects of music production.

    I really like your adjustments. The vocal is sitting better? It's hard to remember what it sounded like to me when I listened to it before. Warren's solo in the bridge sounds fantastic!
    I hear what you did with the arp'd guitar now -- GOOD IDEA. I'm still listening in headphones. And I'm curious, did you try panning the delay track or is it straight up the center? Because I would like it to 'feel' a little closer to the source, maybe 20 percent Right, the center is already filled with other stuff. Just a little movement will add interest without being distracting.
    Sorry, I don't mean to sound like I'm telling you what to do, I'm just thinking like a sculptor.

    Have you ever heard KRWLNG? The Linkin Park remix of Crawling from the Reanimation cd. Aaron Lewis (Staind) sings harmony and there's strings and it's my favorite track on the album and I still listen to it at least once every day and one of the reasons I'm here.
    It is one of the best demonstrations of panning effects I've ever heard in my life. The part that starts about 1.5 minutes in -- check it out if you haven't heard it -- is really distracting. But notice how all the elements settle into place for the main body of the song. I just listened to it again: holy crap, it's like a Master Class in reverb technique too.

    : )