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Sounds Like: David Foster, Hans Zimmer
Hi Kirk, you got another of mine, Like A Diamond. I'm glad you like it, it was commissioned by the Guild Of International Songwriters and Composers on behalf of the fan club of one of the UK's biggest stars, Cliff Richard, to be presented to him at the Royal Albert Hall in London to celebrate his 60th (Diamond) Anniversary in showbiz. As it happened, it was runner up but has been warmly taken to heart by his fans. I'm grateful for all the technical stuff but, as others have hinted at, much of it is lost on me, not because I don't want to know it, just my lack of training/knowledge. Yes, although I produce my songs, it is very much a case of learning as I go along, while considerably ignorant of the engineering process! Of course I am very grateful for technical advice, how else would I learn, and what I would suggest is keeping it in basic layman's terms. For instance, I am actually now trying to look up and understand your comment regarding "EQ roll-off around 700k", if there is a simpler way of saying that, it would help us non technical types. So, basic stuff such as "a lot less reverb" (for instance) works for me. (You refer to increasing the stereo delay, that also makes sense, mind you I haven't used delay at all on this song.) When it comes to the final mix, I use Lurssen software and tend to seek out the most pleasing pre-set to my ears. So, unfortunately, in some respects, you are fighting a lost cause with all the engineering tips on this site. We are songwriters first and foremost and, in my case, vocalists and musicians too. There is little room left in this brain for too much tech knowledge. Like A Rock is one of my favourite Bob Seeger songs so pointing me in that direction is great, but how that mix was arrived at is another thing altogether! Keep on at us Kirk, in easy to understand terms, and some of it will get through! Thanks again, Bob
Thanks much for your words on your review of No More Worries 'bout Me, an old collab that I was given the chords to from the piano player, and wrote the melody and lyrics. Your improvement comments are probably spot on, however I didn't mix it (the piano player did) and the singer I hired was a session singer in N-ville (maybe still, but it's at least 10 years ago...) and the piano player did the mixing, etc. I don't do many collabs, and I originally sung this myself, you may find it on my page as "writer's vocal"...too breathy for sure, so I hired this gent...anyway my guess when visiting your page is you are quite successful and a very good music engineer, and may actually be another type of engineer? Your suggestions are good ones, quite technical in nature, out of my creativity league for sure. I appreciate your review and wish you continued success, and wonder why you're here on Bjam? Most with the technical skills I hear on the pieces I listened to of yours are superb, though on several of the pieces that may have been written per request, I hear a lack of originality...of course on several it is just the opposite! Anyway, nice to meet you, if you have time visit my page and let me know if you like any of the other songs with lyrics. All the best, Warren Hein
Here is a friendly tip from a long standing community member with a catalog of commercial placements- Don't give a song 17 out of 50 and have nothing critical to offer but hair-splitting items around "tightening production"... -- for the most part we are songwriters on this site... not production studios -- Consider lyrics, melody, arrangement, emotional arc, etc... I suggest you listen to Broadjam top ten lists and understand the top quality stuff here to use as a reference.... appreciate the totality of song-craft.
I have my opinion and that is all I can do. When I mentioned production, I meant all production. I can appreciate you being long standing community member and that's great but has nothing to do with the song. Lastly, if someone has given you a 50 then go with that. As you know, everyone has an opinion and it's just that. I mean no disrespect.
I also need to add that I am sure you hear a night and day difference when comparing to Beverly's Jump. The vocal timing, eq, panning down the middle vs slight right, melody and energy (note the low mid roll off thay makes your voice just pop vs. a karaoke sound) how glued together the mix is while still maintaining seperation and space? A totally different song. A 42 out of 50 for sure.
Without me paying a dime to Broadjam for extra promotion, The 17/50 song is currently #1 on the following Broadjam lists: "Earth" "Country" "North America" "USA" "Connecticut" and currently #5 on "Uptempo" and "Male Vocal".... none of these lists seem concerned with the "delay on the lead" or "Effect on the vocal"... because it is about the craft of the song..... This is what you miss as a reviewer.... Otherwise you don't have to like my song, it is more about considering my advice, which as a long standing member comes with solid insight. BTW even your comment on Beverly's Jump has nothing to do with the crafting of the song....
Sure thing Barry. Best of luck with the song crafting.