This track bodes well for the new album! Nice dual guitar attack with Mike and Bill Pohl (of Underground Railroad fame) complimenting each other well, impossible-interval vocals, cool woodwinds, and a great rhythym section. I can even tap my feet to it! Is that Simon Steensland on bass? Well, I'm anticipating getting the whole thing whenever it's released. Bravo, TP, and good luck with this one!
Last edited by Guitarplyrjvb; 01-03-2017 at 03:19 PM.
Oh man, this is going to be good!
neil
Great googly moogly, this is going to be epic.
Ian
Host of the Post-Avant Jazzcore Happy Hour on progrock.com
https://podcasts.progrock.com/post-a...re-happy-hour/
Gordon Haskell - "You've got to keep the groove in your head and play a load of bollocks instead"
I blame Wynton, what was the question?
There are only 10 types of people in the World, those who understand binary and those that don't.
That's what I meant to say. Thank you for translating, Ian!Originally Posted by NogbadTheBad
neil
up for sale (early) next week exclusively from the folks who make it all possible.
Thanks.
We hope you buy it in epic quantities.
Steve F.
www.waysidemusic.com
www.cuneiformrecords.com
- - - - - - - - - - - - - - -
“Remember, if it doesn't say "Cuneiform," it's not prog!” - THE Jed Levin
Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]
"Death to false 'support the scene' prog!"
please add 'imo' wherever you like, to avoid offending those easily offended.
This year is going straight back to last year's beginning - Thinking Plague starting it all off in fine style. To top off just January - - - London for Spratleys/Guapo and Knifeworld/Admirals Hard! Sheeeeit yeah 2017.
I'm in. Save me a copy.
Hi Guitarplyrjvb, (I mixed the album) That tune isn't Simon on the bass, that's Dave Willey. Simon played on another one. It's pretty obvious when you hear it!
^^Thanks,Bob! Nice job, as always!
Sounds awesome! I loved the drum sounds!
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
I wasn't involved in the recording, but the drums were recorded well, in a proper studio for one thing, and I kept them very dry and close-up in the mix. Mike was a bit unsure about my generally dry and un-effected approach to mixing at first but came to appreciate it! Once he came here to finish up the mixes with me, we did make a few reverby moments (like those bits at 2:57 and 2:59 where he asked if the whole sound could suddenly be distant just for those phrases) but it's all generally dry and punchy. Another thing about this album I noticed right away while mixing it is that there is a consistency to the tracks, even though there is a different bass player on one and (I think) a different drummer on one (Mike? is that right?? I can't remember!) I think it's partly due to a lot of it being recorded in the same studio, and over a relatively short (by TP standards) period of time. So it all hangs together a lot better to my ears than other recent TP albums. I also like the fact that there are very few synth parts, most of the keyboards are piano, reed organ and accordion which again gives the tracks a consistent and organic sound. There are a few synths but mainly as a slight addition to some of the real keyboards, hardly noticeable.
Last edited by Bob Drake; 01-04-2017 at 04:05 AM.
Seems to be very good decision.
My progressive music site: https://pienemmatpurot.com/ Reviews in English: https://pienemmatpurot.com/in-english/
Sounds really, really good. As always.
Looking so much forward to this.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Great!.
Pura Vida!.
There are two kinds of music. Good music, and the other kind. ∞
Duke Ellington.
Super track. I love the production. It's great to hear each instrument comfortable in its place like a jazz recording.
SWEET!!
Great mix BD - I really dig the "dryness". Works well with this music imo. Great job Mike - you are a musical madman!
Great tune and arrangement! Looking forward to the whole thing!
Awesome. Need one!
Chad
There's an effect I noticed when I saw them live a couple years ago - although this was an accident live, and is an obvious move when mixing a recording. When I saw them, I was sitting front-and-center, with Mike to my right and Bill to my left, so I heard a stereo spread of the guitars from their stage amps, and this gave Mike's somewhat dense and harmonically knotty material a clarity I hadn't always heard from it. It sounds like Bob took a similar approach to the album's mix.
Nice stuff. I concur on the production delicioso-ness.
I'm holding out for the Wilson-mixed 5.1 super-duper walletbuster special anniversary extra adjectives edition.
I always take that approach, in my mixes it's either hard left/hard right or center, no "in-between" panning. If I want a sound "inbetween" I use stereo micing and place the sound source where I want it. I feel that panning a mono track at say, 3 o'clock position, or even worse just slightly off-center, causes it to become somehow diffused and less "solid". Gives a claustrophobic sound. I can get away with it to some degree if I have a close-miced mono track and stereo ambient track of an instrument, as the stereo room sound (even if used in tiny amounts) fills in for the ear/brain and makes it sound more real, or unreal, as the case may be. (none of this kind of mulit-tracked, close-miced mixing is trying to make "reality", it's an impossible way of hearing a group - and it sounds great!) The "inbetween" positions can work for small sounds or things that aren't the main substance of the music, but the instruments doing the main body of the music it's right, left, or center and preferably with a touch of stereo room mic.
When Mike came and we finished up the mixes, he did bribe me to place a thing or two "sortof" left or right, and I accepted some of the bribes.
Another good sounding thing is record each instrument/voice with a close mic and a stereo room mic, pan all the close mics center and mix in the room mics to open up and liven the sound. Even just a teeny bit does it. But me, I do love a wide stereo picture, as long as it sounds like a song and not some isolated things that aren't meshing into music.
Anyhow, to keep on topic, this TP album is for sure the best sounding of their recent albums.
BD
www.bdrak.com
Interesting. It's a surprisingly simple approach for someone who knows their stuff as much as you do. But you've clearly thought about it, and thought about it a lot.
Although: What about elements that fill roughly the same space in the music, fall into the same register, and yet aren't playing the same part or filling the same function? Specifically, Elaine's voice, Dave's accordion, and Mark's saxes/clarinets/flutes. All of those "want" or even "need" to be in or near the center, but the potential for collision or clutter is great.
So do I. I hear so many records with everything mashed together in the center - sometimes to the point where I have to listen to the drums to confirm that no, it isn't mono. But that does such a disservice to the music's clarity, particularly if there's a lot going on. Stereo spread is one of the most powerful tools for making every instrument in a recording speak clearly, and it gets underused a lot.
Although that factor probably depends on how the artist + producer thinks people will listen to the result. Thinking Plague is music that will be listened to on headphones, or in a chair facing a pair of good speakers. Other music will be listened to over a stereo at parties, or through earbuds, or in a disco - each of which calls for a different mixing philosophy.
Last edited by Baribrotzer; 01-05-2017 at 06:35 AM.
Brilliant! Looking forward very much to hearing the whole album. Topical title as well - hope I can order from WS and have it by 1/20...
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