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SHINE - Gently Insane
| Message Board > Album Reviews > SHINE - Gently Insane |
| shine User Info... |  By Ted Perlman Well, Shine have obviously been listening to the radio. It's apparent in their very radio-friendly approach to this record. I use the word 'record' instead of 'demo' because with a few tweaks, this could fit very nicely in any programmer's top 40, rock or even modern country format. What I detect from listening, however is a 'band member's disease' rearing it's ugly head. When it comes to a mix there should always be one person who has the final word. And that person should be the most objective about the sound and can make critical judgements based on the record as a whole, not on whether their own particular contribution is standing out from the rest. Even a solo singer (unless they're producing themselves) should learn to trust the producer or engineer enough to allow them to mix a balanced record. That's the key to any mix: balance. Arrangement From the opening guitar riff to the great violin, everything builds nicely. The addition of vocals harmonies when the chorus hits is exactly what A&R people are always looking for. As I listen more, I am reminded of what Fleetwood Mac might sound like today if they had continued recording. The intro is a nice length. You don't have time to go to the loo before the first verse starts, as is the case in some records. I really like the way the violin is used in the arrangement, both tonally and note-wise. The violin player is obviously very experienced in making records and how to use certain tonalities in vaious places of the song to enhance the whole sound. Listen to the way the violin builds dynamically with the singer at the end of the bridge, and then lays out for a while to let you appreciate it when it does come back in at the last chorus. Same for the guitars. Since this record features the violin, the guitars are being played in an octave range that lets them cut through without taking away from the volcals or violin. Very nice. Instrumentation Great choice of instrumentation. The guitars, violin, bass, and drums all blend together nicely. The snare drum sounds like a nice old Ludwig Super 400 - not too thin and not too boomy - and the bass blends with the kick to make a cohesive sound. My only gripe is the lack of any keyboards. Even in heavy mental you need something to reinforce the low midrange. My friend Glen Kolotkin engineered a bunch of heavy metal records and he told me they always put accoustic piano in there, even if you couldn't hear it. An accoustic piano or even a real Hammond B3 with Leslie would really balance out this record. Engineering Here's were i'm missing a sense of balance. The instruments are mixed and EQ'd nicely, the low end is punchy without being boomy, and the top end sizzles without sounding too 'aural excited'. The vocal is recorded and EQ'd nicely. However, I can't hear the vocal enough. Bad balance. The singer sounds great, but with this type of song, the listener wants to hear what the song is about. Plus, it's in a low register for the singer (maybe raise the key a whole step?). It sounds like they've already used a limiter on the vocal in the recording and mix ( a typical practice), but somebody has to actually put their hands on the vocal fader and turn it up when she's singing those low notes. This is not kiddie pop - Turn her up. She sounds great. Overall Shine have a very promising future. I don't think they need a new producer, but they do need a new mixer - someone who is more attuned to vocals. The drums sound great, the snare reverb is killer, the violin is recorded beautifully (not an easy task), the guitars sound brilliant. Just a little more time getting a great vocal sound and balance in the mix, and this could be a hit record. Balance, balance, balance . . . TP - Sun, 26 Sep 2004 11:18pm | ||
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