Hole in the Earth by Collisional – This is a great way to kick start and grab audiences attention with its big loud guitar riffs at the beginning and energetic drums and bass underneath. It is then followed by a calm clean guitar tone played a lot throughout, I worked hard on the recording process of this album as I myself am a huge Deftones fan, let alone the producer ‘Terry Date’ whom did not engineer this song in particular but past ones, there is not much info on Terry’s style floating around the net and much of it remains a secret so it was a great chance for me to really listen and decipher his style and take what was useful and apply to this and many other recordings that I may produce in future.
Realistically the cover would be hard/expensive to publish as it’s a cover and there would be royalties to be collected by the composers and labels, it would make a great show reel for me as well as the band themselves in future to show to potential employers my engineering skills. Should they have written a song in this style of music would have been better I the long run as an opportunity to sell it in future should the band stay together. the success would have been down to publishing and general interest by members of the public as Nu Metal isn’t the trendiest of genres at the moment but should bring a loyal fan base which, the Deftones certainly have attained.
Down to Dusk by The Motion – to carry on the flow of the album some soul was needed after all the cymbal bashing and guitar chugging from the precious track, the song is off to a pretty slow start and is somewhat on the verge of the short attention span of listeners today to reach for the fast forward button, which is why I didn’t use this as the opening track. The vocals and a definite selling point for this song, which is why I’m glad I automated most of this instead of slamming this with compression. The only downside is on my part, which is the overall sonic imprint of the track, due to rushing on the day of recording.
As an engineer my ‘Yin Yang’ or balance is very off as you noticed, the majority of outside recordings I am accustomed to tend to involve a lot of screaming, double bass, monster riffs etc. So have the tendency to make everything sound punchy. It is refreshing to have been able to produce such talent and would’ve never thought It’d be a soul band, which has taught me not everything needs to sound aggressive, not everything needs heavy compression, sugical EQ moves. Obviously I have much to learn but nonetheless, this band does have the potential to be somewhere in a number of years,with some minor tweaks to production and arrangement improvements should be able to produce a big hit that could top the soul charts should the band stay together.
Dont you Pity by Finder (Glen, Lindsay) – The song is off to a strong start this time for a difference from the last song, the tempo has a little less variation than the last, but with a different kind of vibe with it’s drum and bass influenced by some bluesy/jazz aspects. we are treated with a duo of singers this time and do somewhat match together, tuning issues were a huge problem here with snare drums so getting them to sound in tune with all the bleed of the overheads and other instruments were tricky. Some vocal tracks needed to be removed due to the material just not working so well. But overall the song is well balanced with some refreshing piano and bass lead sections.
The band were very well prepared for recording on the day and had a good idea of what they wanted to sound like, recording vocals were rather easy, with minimal guidance on what works with the song and some hints on tuning. The song does drag on for a bit but nothing a few new sections couldn’t fix, the band could potentially be well known for their indifference in musical style, they are easy on the ears and a majority of audiences could possibly enjoy the material.
Love me like you do by Ellie and Evie – Another cover and this time a recent hit song by Ellie Goulding, a lot of copyright issues would be the main issue here which is preventing the band from publishing the track overall, it would however make an excellent way to show off to A&R staff, which I’m sure will consider one of the singers in future. Although the song is only recorded with three mics in total the track has brought a lot of life to the entire song as the duo were recorded in the same room thus playing off each other.
The song needed a lot of attention to it however in the timing and arrangement department, as originally it was only the duo without any of the midi instruments which does help make the song seem like its progressing which is what I thought it didn’t before and seemed to drag on a little. They will both probably need great producers in future should they wish to take this to a professional level, some compositional skills and arrangement tweaking should push one of them to be able to produce their own single one day which could possibly be a hit or influence a small cult following.
Mother by Dan Loh – This was essentially a replacement of the song ‘Sorry you’re not a winner’ as I didn’t want there to be more than one instrumental track on the album, let alone another Metal track. The problem would be copyright issues again as this is a cover of a really huge hit by John Lennon, the royalties to pay would not be worth the amount of time and money that would have went into the production of the song. I chose to remove a lot of other element to this mix as the rest of the instruments in the end were just out fighting so decided to make it into a stripped down version of the song that would act as the ending to the FMP album thanks to the line in the song ‘goodbye!!……’ Glen did a great job on vocals on this track and would make a fantastic show reel in future.