RAP5/3/19 Rick Krizman "More to Love"

[Carey Carlan]

This is another fun song. The jazz backgrounds are makin it for me (except
for that discrete drum set) and the vocals are right there.

How many vocal tracks are there again? I'm hearing about a dozen! <bg>

The sound of a B3 is great, but a Wurlitzer has a wholy different place in
the organ pantheon. I also liked the muted trumpet that added without
being in my face.

[R Krizman]

<< This is another fun song. The jazz backgrounds are makin it for me (except
for that discrete drum set) and the vocals are right there.

How many vocal tracks are there again? I'm hearing about a dozen! <bg>

The sound of a B3 is great, but a Wurlitzer has a wholy different place in
the organ pantheon. I also liked the muted trumpet that added without
being in my face.
>>

Glad you enjoyed it. The artist, Robin Mink, is currently garnering a lot of
attention in Nashville,of all places, on the merits of that tune. Go figure.

No, it's not discrete drums--it's some stock samples from an old Akai S-1000
which I created as a reference loop. Then we tracked all the vocals on top of
that loop (yeah probably a dozen or so), with a reference bass track for pitch.
Most of the instruments were added as a jam to the vocal/drum loop (mostly
take 6), but the trumpet and B-3 were overdubs. We tried to replace the loop
with live drums, triggered drums, other loops, etc., but nothing would "stick".
So even though I knew I'd take **** for it in technical circles, I left it as
is and we decided that it was just another "chunky butt" aspect to the song.
(It got louder in mastering for some reason--if I could do it again, I'd nudge
it back a bit.)

What we lack in polish we make up for with rudeness?

-R

[Carey Carlan]

rkrizman@aol.com (R Krizman) wrote in
news:20030818151056.11748.00000172@mb-m11.aol.com:

> No, it's not discrete drums--it's some stock samples from an old Akai
> S-1000 which I created as a reference loop.

Let me redefine what I mean by "discrete drums". It means I hear each
piece of the set as a separate entity. In this case, your samples were
panned into a semblance of a stereo image, but each mono drum sample sat at
a very precise narrow slot in that image. I can almost read the
degree setting on the pan control. There was no "overhead" to smear
everything together.