Here is Restless Freedom by Flying Man Shark.
I used this track as part of my assessment accompanied with a rational for Production and Professional practise at Edinburgh Napier
Name: Jonathan Park (07004598)
Track: Restless Freedom
Band Name: Flying Man Shark
I have chosen to submit this Alternative Rock piece as it has such a dynamic range from the light to ‘heavy’ parts of the songs. The track starts off calm and slow building in energy and tempo till the track becomes one whole powerful entity.
Restless Freedom has Post-Pop production values; the instrument tracks clear but allowing the vocals to stand out and audible when/if they need to be. The only parts of production that would suggest that it isn’t ‘pop’ is the rocky wall of sound that is later achieved in the piece.
Every instrument was sub mixed into their own channel so that separate reverbs and panning could be applied effectively giving each there own space in the mix at the start of the song slowly becoming a wall of sound.
• Side chaining (ducking) – kick and vocals
The kick is side chained in the song to allow it to punch through the mix this is also emphasised specifically at the start with the bass synchronising with the kick hits.
The vocals are side chained to add ambience to the sound giving the lead vocal more room allowing it to sit at the front of the mix and audible within the track
Panning was done with subtlety, panning the guitars and bass to the sides allowing the drums to power in the middle with the vocals sitting on top also using reverb so that the vocals moved apart from the mix
• Double tracking
Vocals takes at the start were recorded twice, so that at parts the second vocal could be mixed in, making the vocals stand out in sections to convey the lyrical desperation in the piece
The bass was also double tracked once using a SM57 to the amp speaker cone and secondly straight into the direct input so that both sound qualities such as the attack through the DI and the undertones from the amp could be balanced.
Thank you for listening
Something I need to interject and add to the above that was a key part in producing the track.
All the tracks as part of the album (the remaster) were send to an outboard reel to reel tape deck then back in to add a warm feel and it times does make track muddy.
In the overall context of the album it made sense.