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Topic: Letter to Sarah - take 2

  1. #1

    Letter to Sarah - take 2


  2. #2

    Re: Letter to Sarah - take 2

    Making progress, Jon, making progress!

    But Jon, to my ear, this seems not to be bringing
    forth the fullness that I know is there in the

    Tell us exactly what you're doing in the sound
    treatment. EQ? Compression?

    My best,


  3. #3

    Re: Letter to Sarah - take 2

    Quote Originally Posted by jjloving View Post

    That's it - so, what should I be doing?! lol

    Darned if I know. And you do have to figure that
    I could very well be all wet... I only get things right
    by mistake... rofl!

    We need an expert!

    Randy? Danny? Yo!



  4. #4

    Re: Letter to Sarah - take 2


    First off, nice piece.

    The piano is a lot closer than in the old, but still seems a bit far away at times. This version is a lot better.

    I am curious, do you use any effects in the KP2 player, or just Sonar?

    I usually do around 50 (or more) versions of my pieces before I get satisfied or sick of doing them.


  5. #5

    Re: Letter to Sarah - take 2

    Hi, Jon

    It's good to be hearing your passionate song again. What you have is a nice textural bed which seems to be now waiting for a melody. It sounds like backing tracks for a vocal or lead instrument. Pleasant chord progression, effectively spelled with the constant piano Ostinato and reinforced with the strings which are playing parts in the "pad" mode of pop music, but now needing a strong melody to soar along on top of it all.

    Somehow the lack of melody didn't strike me so much the first time you posted this. I was mostly enjoying the atmosphere of it, and listening to your mix. And this time, the need for a melody line is the first thing that struck me--like the recording is constantly building and making me think there will be a substantial melody to latch on to, but it doesn't happen. I think my different perceptions are just indicative of how our current moods determine how we hear things to a large extent.

    Recording-wise, I think it was a good improvement, to have a smaller reverb setting on the Piano - It Does make the instrument move closer to us.

    But the EQ you have on the Piano has thinned out its sound too much. I just listened to your old take again, and I prefer the warmth of that Piano. There's a Brightness control on the JABB Piano which does a more effective job of controlling the relative brightness of the instrument.

    These drums are more Pop and their sounds work fine with your song, but moving them to one side didn't work for me. I think you must have been wanting to create a stage the way this would be played in Real Life, but I don't think that's necessarily appropriate for the song. Why not keep the drums at center, and with the individual parts of the kit spread out the way we're used to hearing them in Pop music? It's a sound that couldn't happen in a live concert, but who cares? It would sound more appropriate for the music. The slightly lower volume for the drums was an effective move though.

    The strings are sitting just where they should be, to my ears.

    Randy B.

  6. #6
    Senior Member fastlane's Avatar
    Join Date
    Nov 2004
    Shelton, Washington State

    Re: Letter to Sarah - take 2

    It sounds a lot better.

    I'm not sure if it needs a separate melody line. I think the piano supplies enough melodic interest to get by.

    An idea I have is when the drums are being used as in the beginning try adding a second piano, panned to the other side a little. Only play the low chording with this piano and not too loudly. This will give it a fuller sound as if you were adding an orchestra but it won't compete with the piano.


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