I’m not married to the mix of this album, but I’ll go steady with it for a while. In other words, the album is done. I can’t spend too much time trying to get it to sound perfect. It’s not going to anyway with the low-fidelity recording technology. I’m all for pushing people and software over their limits, but there comes a point in which the lower production quality actually helps with how certain tracks were recorded. I may be too hard on myself, anyway. Still, comments are welcome as far as mixing is concerned. I’m not going to do any re-recording, just like I didn’t for last year’s project. It would ruin the magic of the RPM Challenge for me.
As far as differences between the audio quality between “Stare Into the Abyss” and “Whispers From the Wall” are concerned, the drum machine played a big part in improving the sound. For both albums I plugged the guitar, bass, and keyboard right into the computer. Last year I had to mic the drums, which turned out poorly. I had to lower the quality of the other instruments in order to match. This year I could plug the drum machine right into the computer itself, and match everything else. As a result my vocals stand out on some tracks as my microphone is fairly cheap. The fact that I recorded most of the vocals in one day also affected them, however I don’t make apologies for my performance. Overall, the volume of this album is much louder than the last one. Of course, at the listening party last year the guy could have turned the volume up on the P.A. during my song….
I’m going to hand in a copy of the CD tomorrow (unless there’s an overwhelming majority of opinion on a mixing change). Just like last year I’m not going to give them my preference for a track for the listening party. I’m interested in which one they pick. Something tells me they’ll pick the one with “fuck” in it, judging by last year. Who knows–maybe they’ll force me to pick one this time around.
Because of budget limitations, the copy I’m giving the people at the Challenge is going to be the only one with the above cover, which has liner notes on the back. Any other copy I’m giving out will just have a label on the CD itself with instructions to go to this page for liner notes:
1.Where There is Dark… (Intro)
3.Beware of Strangers
4.When I Tried to Love You
5.I Want You
Shadows Of Immurement is Mick Marston
Composition, performance, programming, production by Marston except track 1 vocal read and recorded by Mike Thornhill
Recorded in Kittery Point, February 2013 except Thornhill’s vocals recorded in Seattle
I don’t normally bother with acknowledgements because I’m always afraid to leave somebody out, but this time around there are a few people that deserve special mention. Obvious thanks goes to Mike Thornhill for reading the introduction I sent to him, and for the recording tips along the way. Thank you Jan and Emery for the drum machine, which I used for the majority of the album. Thank you Andrea Szirbik for making me realize what my priorities are (one of these days I’m going to coax you to sing on one of these grim songs!). Finally, thanks to all my friends who offered their encouragement and support.
Below is the player from my RPM Challenge page, with the album in it’s entirety. I will post them to my reverbnation site at some point, but due to their space limitations and restrictions on language I’m going to have to wait.