Well, the phrasing of consonants isn't very Freddie like in your voice. The tone and style are influenced, I can tell. Much as my own voice.
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Overall I think the recording and mix itself is very good. As others have said, it's a passionate vocal delivery, and the engineering is top-notch.
However, I have to agree with Tenchijin and the others who have commented on the timing issues concerning the drum entry. There's a definite problem there. I also have to add that the piano playing betrays syncopational problems at times. Indeed, the introductary part unbelievably omits an 8th note somewhere in the 3rd bar.
I also would echo the point raised that the overall sound seems to lack something when the solo kicks in. The band, and the sonic scope, seems too small at this point.
Other than those minor quibbles though, it's an excellent recording, highlighting the superior production skills of Adam.
However, I have to agree with Tenchijin and the others who have commented on the timing issues concerning the drum entry. There's a definite problem there. I also have to add that the piano playing betrays syncopational problems at times. Indeed, the introductary part unbelievably omits an 8th note somewhere in the 3rd bar.
I also would echo the point raised that the overall sound seems to lack something when the solo kicks in. The band, and the sonic scope, seems too small at this point.
Other than those minor quibbles though, it's an excellent recording, highlighting the superior production skills of Adam.
Its really good to see so many positive comments on this track!Yet, by the same token, it is also useful to see many constructive ones as well. Really gives a kind of general view of the strengths and weaknesses here!!
There is just one things I'd like to clarify though...
[QUOTE][QUOTENAME]Bohardy wrote: [/QUOTENAME]
I also have to add that the piano playing betrays syncopational problems at times. Indeed, the introductary part unbelievably omits an 8th note somewhere in the 3rd bar.
[/QUOTE]
I'm not 100% sure about what you mean here. It could just be me showing my ignorance, but, having listened to the trak a few times, I can't quite tell what you mean about the piano. You couldn't explain a bit more about what you mean, maybe point me in the right direction as to what you can hear? Would be appreciated =)
There is just one things I'd like to clarify though...
[QUOTE][QUOTENAME]Bohardy wrote: [/QUOTENAME]
I also have to add that the piano playing betrays syncopational problems at times. Indeed, the introductary part unbelievably omits an 8th note somewhere in the 3rd bar.
[/QUOTE]
I'm not 100% sure about what you mean here. It could just be me showing my ignorance, but, having listened to the trak a few times, I can't quite tell what you mean about the piano. You couldn't explain a bit more about what you mean, maybe point me in the right direction as to what you can hear? Would be appreciated =)
Sure, I can clarify Berty.
Perhaps "omits an 8th note" was not the best way of phrasing what I meant. I wasn't referring to the fact that the piano part isn't 100% identical to what Brian plays (which is how what I said now sounds to me), but instead I was pointing out that the 3rd bar is an 8th note, a quaver, short.
In a sense, the meter for the 4 introductory bars is:
4/4 - 4/4 - 7/8 - 4/4.
So the pianist has 'lost' a quaver somewhere, around the middle of the 3rd bar, where the part gets a little syncopated.
Each time this particular part is played in the song, something a little odd happens with the timing, although it never again loses a beat. And the rhythm used is never the same as Brian's. I don't think this is intentional, and so it seems to me that the pianist has slight issues with syncopation.
Hope this helps.
Perhaps "omits an 8th note" was not the best way of phrasing what I meant. I wasn't referring to the fact that the piano part isn't 100% identical to what Brian plays (which is how what I said now sounds to me), but instead I was pointing out that the 3rd bar is an 8th note, a quaver, short.
In a sense, the meter for the 4 introductory bars is:
4/4 - 4/4 - 7/8 - 4/4.
So the pianist has 'lost' a quaver somewhere, around the middle of the 3rd bar, where the part gets a little syncopated.
Each time this particular part is played in the song, something a little odd happens with the timing, although it never again loses a beat. And the rhythm used is never the same as Brian's. I don't think this is intentional, and so it seems to me that the pianist has slight issues with syncopation.
Hope this helps.
Ehm...Bo? I don't think Stu's piano was supposed to sound like Brian's. What gave you that idea? Because it's mostly a Brian cover version?
Also, I feel for Stu cause of what you've said about his playing. I never thought any of what you did when I heard his playing on this or other tracks we have. I know about the intro thing, but it doesn't bother me. Apart from that, there's nothing in his playing I don't like. I get the feeling he'll be posting about this.
Adam.
Also, I feel for Stu cause of what you've said about his playing. I never thought any of what you did when I heard his playing on this or other tracks we have. I know about the intro thing, but it doesn't bother me. Apart from that, there's nothing in his playing I don't like. I get the feeling he'll be posting about this.
Adam.
Hey BO, cheers for that explanation. Listening back to it, i totally get what you mean!! I didn't realise I'd made such an obvious mistake! I must admit that its easier when playing that returning theme later in the song when I have other reference points to keep the timing, but I must admit a wee bit of a timing problem during the intro. Thanks for pointing that out, I'll watch that in the future!!
But, snycopation problems? I don't quite get what you mean. I didn't feel that my playing was off the beat in anyway, and I thought that, although it's not Brians, it still fitted well.
And, just to say, I could have say infront of the piano for days, but my playing will never sound anything like Brians. Every pianist in the world will have a different style, and no piece of music will be played exactly the same by two people. I think its a wee tad unfair to say that just because my playing isnt like Brian's its a syncopational problems. I'm only saying, is all! =D
But, snycopation problems? I don't quite get what you mean. I didn't feel that my playing was off the beat in anyway, and I thought that, although it's not Brians, it still fitted well.
And, just to say, I could have say infront of the piano for days, but my playing will never sound anything like Brians. Every pianist in the world will have a different style, and no piece of music will be played exactly the same by two people. I think its a wee tad unfair to say that just because my playing isnt like Brian's its a syncopational problems. I'm only saying, is all! =D
I really liked this, and I dont usually like it when people record covers!
I think its cos you can tell its been done with a certain love and respect for Queen, and without the ego issues that some (usually big stars like Robbie Williams) seem to get.
The only thing that puzzled me ever so slightly is the gap in the guitar solo at 3:05 - its mildly distracting that the guitar goes silent - I dont know if you could have had some feedback there, or dragged your finger up and down the neck to maintain the "noise" if you know what I mean.
That said, I almost certainly couldnt have done any better, so I'll shut up!
I'll have to start a topic one of these days about what software/equipment people use to get this stuff sounding decent - like removing/avoiding pops on the vocals whenever you sing a "hard" sound like a "p" or "b" - do you use one of those guards in front of the mic as in professional studios, or is it software?
For instance - I tried a version of the first section of Bohemian Rhapsody with myself on vocals to Freddie's piano from the multitracks, but I could neither get a good reverb sound, or do anything about the clipping on lines like "Pulled me trigger".
Wanted to upload that here, but thought it best not to stir up trouble about the multitracks.
Anyway - got sidetracked there! Great job - very impressive! :)
I think its cos you can tell its been done with a certain love and respect for Queen, and without the ego issues that some (usually big stars like Robbie Williams) seem to get.
The only thing that puzzled me ever so slightly is the gap in the guitar solo at 3:05 - its mildly distracting that the guitar goes silent - I dont know if you could have had some feedback there, or dragged your finger up and down the neck to maintain the "noise" if you know what I mean.
That said, I almost certainly couldnt have done any better, so I'll shut up!
I'll have to start a topic one of these days about what software/equipment people use to get this stuff sounding decent - like removing/avoiding pops on the vocals whenever you sing a "hard" sound like a "p" or "b" - do you use one of those guards in front of the mic as in professional studios, or is it software?
For instance - I tried a version of the first section of Bohemian Rhapsody with myself on vocals to Freddie's piano from the multitracks, but I could neither get a good reverb sound, or do anything about the clipping on lines like "Pulled me trigger".
Wanted to upload that here, but thought it best not to stir up trouble about the multitracks.
Anyway - got sidetracked there! Great job - very impressive! :)
I did originally have something recorded in that little gap, but it didn't seem to work in relation to what comes up next, so I canned it. If I had the right piece to put in there, I'd do it. It was certainly my intention in the first place.
Now, I'll tell you what you want to know.
I use a pop-shield to stop the plosives (p or b sounds) from getting through to the mic. The shield is there to reduce the already high energy on those sounds. There's actually a spot in the song where I managed to get through the shield a fair bit! That said, with some natural EQ tweaks, that plosive can be reduced. Of course, you can get around using any pop-shield by simply setting up your mic to the side of you when recording. This means the energy would be nowhere near the mic.
If you get crackles on your higher vocal bits, I wonder if that's because you "clipped" the audio while recording. This happens when you go over zero - the red line. You must stay below the top of this point, otherwise it will distort the sound you're recording. A way to combat this would be to use a compressor on the recording which can be set to stop it from going over zero.
And as for "sound decent", that comes down to the equipment used and the place you mix it in. This was all done in my bedroom studio at home. In the past, the equipment seemed enough, but when mixing here, it didn't quite come out right. So I finally invested some cash and bought bass traps for my room. This helped hugely when trying to get sounds right.
Also, my speakers (Tannoy 6D) have a piece of software (ActivAssist) that allows me to set the speakers according to how my room sounds. Basically, all rooms are unbalanced in some way. With this software, you rig up a measurement mic and go through some hoops for it to balance that difference/balance and your system correctly. Clever stuff. It certainly has helped me get things done and I only wish I'd invested sooner.
Adam.
Now, I'll tell you what you want to know.
I use a pop-shield to stop the plosives (p or b sounds) from getting through to the mic. The shield is there to reduce the already high energy on those sounds. There's actually a spot in the song where I managed to get through the shield a fair bit! That said, with some natural EQ tweaks, that plosive can be reduced. Of course, you can get around using any pop-shield by simply setting up your mic to the side of you when recording. This means the energy would be nowhere near the mic.
If you get crackles on your higher vocal bits, I wonder if that's because you "clipped" the audio while recording. This happens when you go over zero - the red line. You must stay below the top of this point, otherwise it will distort the sound you're recording. A way to combat this would be to use a compressor on the recording which can be set to stop it from going over zero.
And as for "sound decent", that comes down to the equipment used and the place you mix it in. This was all done in my bedroom studio at home. In the past, the equipment seemed enough, but when mixing here, it didn't quite come out right. So I finally invested some cash and bought bass traps for my room. This helped hugely when trying to get sounds right.
Also, my speakers (Tannoy 6D) have a piece of software (ActivAssist) that allows me to set the speakers according to how my room sounds. Basically, all rooms are unbalanced in some way. With this software, you rig up a measurement mic and go through some hoops for it to balance that difference/balance and your system correctly. Clever stuff. It certainly has helped me get things done and I only wish I'd invested sooner.
Adam.
I had a feeling you were the pianist Berty...
Glad you can recognise what I was talking about now. Sorry if I was unclear at first.
I think you slightly misunderstand me when I talk about the snycopational issues you seem to have. Your playing was very good, and I wasn't trying to hold you up for comparison against Brian. I know you weren't trying to reproduce what he did 100%, and I don't think I ever suggested you were.
The point I was making is that each time you played that, fairly essential, signature returning theme, you used a slightly different rhythm/phrasing than Brian. Now as this is perhaps THE most memorable and identifiable piano part in the song, I would imagine that you were trying to play this the same way (or at least, play the main melody in the same rhythm) as Brian. And, by your own admission, you had a few problems with this.
As this bit is the most 'syncopated' bit in the whole piece, it therefore seems to me that despite your obvious capabilities on the piano, an area you might be able to improve on is syncopation.
As I said before, I really like this cover and commend all involved. So please just see this minor point as a bit of constructive criticism.
Glad you can recognise what I was talking about now. Sorry if I was unclear at first.
I think you slightly misunderstand me when I talk about the snycopational issues you seem to have. Your playing was very good, and I wasn't trying to hold you up for comparison against Brian. I know you weren't trying to reproduce what he did 100%, and I don't think I ever suggested you were.
The point I was making is that each time you played that, fairly essential, signature returning theme, you used a slightly different rhythm/phrasing than Brian. Now as this is perhaps THE most memorable and identifiable piano part in the song, I would imagine that you were trying to play this the same way (or at least, play the main melody in the same rhythm) as Brian. And, by your own admission, you had a few problems with this.
As this bit is the most 'syncopated' bit in the whole piece, it therefore seems to me that despite your obvious capabilities on the piano, an area you might be able to improve on is syncopation.
As I said before, I really like this cover and commend all involved. So please just see this minor point as a bit of constructive criticism.
[QUOTE][QUOTENAME]Adam Baboolal wrote: [/QUOTENAME]I did originally have something recorded in that little gap, but it didn't seem to work in relation to what comes up next, so I canned it. If I had the right piece to put in there, I'd do it. It was certainly my intention in the first place.
Now, I'll tell you what you want to know.
I use a pop-shield to stop the plosives (p or b sounds) from getting through to the mic. The shield is there to reduce the already high energy on those sounds. There's actually a spot in the song where I managed to get through the shield a fair bit! That said, with some natural EQ tweaks, that plosive can be reduced. Of course, you can get around using any pop-shield by simply setting up your mic to the side of you when recording. This means the energy would be nowhere near the mic.
If you get crackles on your higher vocal bits, I wonder if that's because you "clipped" the audio while recording. This happens when you go over zero - the red line. You must stay below the top of this point, otherwise it will distort the sound you're recording. A way to combat this would be to use a compressor on the recording which can be set to stop it from going over zero.
And as for "sound decent", that comes down to the equipment used and the place you mix it in. This was all done in my bedroom studio at home. In the past, the equipment seemed enough, but when mixing here, it didn't quite come out right. So I finally invested some cash and bought bass traps for my room. This helped hugely when trying to get sounds right.
Also, my speakers (Tannoy 6D) have a piece of software (ActivAssist) that allows me to set the speakers according to how my room sounds. Basically, all rooms are unbalanced in some way. With this software, you rig up a measurement mic and go through some hoops for it to balance that difference/balance and your system correctly. Clever stuff. It certainly has helped me get things done and I only wish I'd invested sooner.
Adam.[/QUOTE]
Thanks very much for the info!
As Im essentially still a glorified student at the moment, and have zero resources; it'll be a little while before I can invest in some superior equipment for recording.
For the time being, Ive got a fairly decent sound card (Creative XFi) which has some features I havent had time to play with fully for recording, so perhaps theres some solutions there, and the SM58 mic I use is decent, but if I could get myself a pop-shield Im sure that would help.
I'll have a go one day soon at recording some more stuff and see how I get on.
Now, I'll tell you what you want to know.
I use a pop-shield to stop the plosives (p or b sounds) from getting through to the mic. The shield is there to reduce the already high energy on those sounds. There's actually a spot in the song where I managed to get through the shield a fair bit! That said, with some natural EQ tweaks, that plosive can be reduced. Of course, you can get around using any pop-shield by simply setting up your mic to the side of you when recording. This means the energy would be nowhere near the mic.
If you get crackles on your higher vocal bits, I wonder if that's because you "clipped" the audio while recording. This happens when you go over zero - the red line. You must stay below the top of this point, otherwise it will distort the sound you're recording. A way to combat this would be to use a compressor on the recording which can be set to stop it from going over zero.
And as for "sound decent", that comes down to the equipment used and the place you mix it in. This was all done in my bedroom studio at home. In the past, the equipment seemed enough, but when mixing here, it didn't quite come out right. So I finally invested some cash and bought bass traps for my room. This helped hugely when trying to get sounds right.
Also, my speakers (Tannoy 6D) have a piece of software (ActivAssist) that allows me to set the speakers according to how my room sounds. Basically, all rooms are unbalanced in some way. With this software, you rig up a measurement mic and go through some hoops for it to balance that difference/balance and your system correctly. Clever stuff. It certainly has helped me get things done and I only wish I'd invested sooner.
Adam.[/QUOTE]
Thanks very much for the info!
As Im essentially still a glorified student at the moment, and have zero resources; it'll be a little while before I can invest in some superior equipment for recording.
For the time being, Ive got a fairly decent sound card (Creative XFi) which has some features I havent had time to play with fully for recording, so perhaps theres some solutions there, and the SM58 mic I use is decent, but if I could get myself a pop-shield Im sure that would help.
I'll have a go one day soon at recording some more stuff and see how I get on.
Since I know crap about guitars and percussion, yet supposedly know a good bit about singing (being a singer and singing teacher by trade), I will say that the vocal is quite good! A vocal cover that pays homage and shows influences of the original without trying to be a carbon copy. It's a tough vocal to pull off, IMO. Bravo.
I totally get what you mean about the time, and I am slightly annoyed that I didnt pick up on it myself! Thanks for pointing it out though!!
[QUOTE][QUOTENAME]Bohardy wrote: [/QUOTENAME]
As I said before, I really like this cover and commend all involved. So please just see this minor point as a bit of constructive criticism.[/QUOTE]
I wouldn't have taken it any other way =P
It is something I will look at though. At the time, it seemed I was doing an ok job of it. The difficulty with this one is the fact that even although you may have the music infront of you, the actual playing of that theme is so open and free, it can be hard to replicate accurately. As I say, I felt I did an ok job of it, esspecially considering this is my first cover =P
But, it is a bit of a weakness that I'll look at and try and work on, so thanks for pointing it out!
[QUOTE][QUOTENAME]Bohardy wrote: [/QUOTENAME]
As I said before, I really like this cover and commend all involved. So please just see this minor point as a bit of constructive criticism.[/QUOTE]
I wouldn't have taken it any other way =P
It is something I will look at though. At the time, it seemed I was doing an ok job of it. The difficulty with this one is the fact that even although you may have the music infront of you, the actual playing of that theme is so open and free, it can be hard to replicate accurately. As I say, I felt I did an ok job of it, esspecially considering this is my first cover =P
But, it is a bit of a weakness that I'll look at and try and work on, so thanks for pointing it out!
btt
Thankyou for restoring the board and with it, this thread. I was away this weekend and noticed some replies in my email box, but came back to find the board nuked. :(
Thanks for working hard to restore it as there are posts here I never saw. I think I'll actually save this thread on my HD for safe-keeping! :P
Adam.
Thanks for working hard to restore it as there are posts here I never saw. I think I'll actually save this thread on my HD for safe-keeping! :P
Adam.
Dammit, Adam, why didn't you give the people you've critiqued more ammo? Couldn't you have screwed up, just a little bit? It'd be so cathartic :)
Great job all around. The drum lead-in isn't off-time as much as it is a tempo transition -- it had to slow down a bit to accomodate the solos and such, otherwise they'd sound a little rushed. And Roger often gave into the flow in a live situation and let the tempo slip because it "felt" better, so that falls in line too.
Anyway, enjoyable. Get to work on the other ones!
Great job all around. The drum lead-in isn't off-time as much as it is a tempo transition -- it had to slow down a bit to accomodate the solos and such, otherwise they'd sound a little rushed. And Roger often gave into the flow in a live situation and let the tempo slip because it "felt" better, so that falls in line too.
Anyway, enjoyable. Get to work on the other ones!