|I know most people here think I'm a bit of a bell end but we all know its because you envy my massive penis. The favour I want is... The Bo Rhap multitrack recording. Sometimes I only want to listen to specific parts of the song but all the 24 tracks are just listed as numbers. Can someone tell me how to rename tracks 1-24? Dont go into massive specific detail eg.. bass direct/bass room/ high galileos/low galileos also.. if you could specify which vocal track was used in the published version and which was unused that would be great.
How have you named yours?
|I named mine "Mr. Big", why do you ask?
Re: the multitracks - I have somewhere a description of all tracks, probably copied from some thread here
Track 1: It's got part of the final bounce for the left-channel intro vocals. Then some harmonies in the ballad section (before the solo), a three-part "Sacarmouch... fandango", a big choir for "thunderbolt... me" including Fred's bass-voice and Roger's high A, the left-channel definitive "Magnifico", top and bottom voice from "he's just a poor boy...monstrosity", big choir in "no we will not let you go", two "we will not let you go" with bass-voice dominating, the third one including high part, "will not let you go" all parts, the definitive "no no no no no no no" (too bad Rog's and Bri's separate bits aren't in the multitrack), another big choir for "Mamma mia ... for me" having Rog hitting a high F, and for the reprise a bounce of beautiful "oh yeah" harmonies, you can tell both Fred and Rog are there, but IMO Bri isn't.
Track 2: Right-side definitive bounces for intro, same part as 1 for ballad bit (but of course coming from a different take in order to reinforce the sound), "Scaramouch...", "Thunderbolt" and "Magnifico" and "He's just ... will not let you go". "Magnifico" has some little differences but put together 1+2 you've got what made it to the final mix. "No no no..." and "Mamma mia ... for me" miss Fred's bass-voice, and a close listen makes me think Rog did both the middle and high part. All in all, Bri's barely heard in the song (vocally), he probably joined in the 'fat' bits only, but the other two always dominated the vocal side ('Somebody to Love', otoh, has some more May-estic influence in the vocals, especially in "at the end of the day", also live). The reprise is again a double-track of the 1st.
Track 3: "No escape from reality" vocal bounce (favouring low parts), and for the rest of it, drums.
Track 4: "No escape from reality" vocal bounce (favouring high parts), and for the rest of it, drums.
Track 5: Fred's count to four, and drums.
Track 6: Drums
Tracks 7, 8 & 9: Bass (DI, amp and speaker, respectively)
Tracks 10 & 11: Piano (left and right channels, respectively). There are some small mistakes and a bit of cross-talk, and at the end you can hear Fred saying "oh fuck it". The first four chords were edited out in the final mix to leave an a capella start.
Track 12: Guide vocal for the intro, not included in the final version (there are some off-pitch notes actually). Then there's a bounce of Fred doing octaves for "thunderbolt...me", a separate bit of the "Magnifico" build-up (not used since they had the bounce in 1&2), "He's just a poor boy...monstrosity" has a two-part harmony in the low range, again I can pick Fred's and Rog's voices there, but not Dr May's. Then there's Fred's double-tracked low "Bismilah", the "never never never never let me go" line that made it to the final cut, "Mamma mia let me go ... for me" having a falsetto-then-head multi-track done only (or chiefly) by Mercury. And then one of the rhythm guitars from Brian (rock section and reprise).
Track 13: Single-tracked lead vocal for the intro (sounds similar to the one in the released version but I don't think it's it), an alternative take of the ballad section lead vocal (having some melodic alterations), "let him go" on three-part harmony without Rog's high falsetto, all or most of the bits for "let me go" and an overdubbed snare for rock and reprise sections.
Track 14: Another unused guide vocal (unused isn't the proper term but you get the idea) for intro and ballad. "Let him go" and "let me go" favouring high parts (but missing Rog's sustained falsetto), and the build-up for "let me gooooo" is almost complete. Since those were the days of live mixing, they bounced the trickier parts beforehand so they would have a lighter workload. Rock and reprise features Bri's rhythm guitar (different take, in order to reinforce the sound), very well-played. Bri made less mistakes than Rog, John and Fred, but then again, his parts were overdubbed later, while the other three had to record the majority of their instruments in one simultaneous take.
Track 15: Lead vocal for intro and ballad bit (without the second chorus). They actually copied some of these lines to track 22, where the 'ultimate' lead vocal would be stored. Here, Bri did his exceptional solo too. There's a soprano Fred doing "very very frightening me" (not used in the final version), a fragment of the first build-up, the high "Bismilah" (double-tracked by Lord Teeth), "will not let you go" by Fred in octaves, rhythm guitar for the end of opera section, then for rock & reprise we've got the signal coming from Fred's boom mic at the backing track (which he recorded while he was laying down the piano part), hence we've got some humming and the "fuck it" line again. They should've ended the song with it ;) Oh, btw, there's one of the guitar lines during the piano solo too.
Track 16: Lead vocal punching (i.e. correcting odd lines) during intro and ballad. Then there's another bounce for "Scaramouch", a multi-tracked separate part for "lightning...me", fragments of "Magnifico", Roger's high falsetto for "he's...family", Fred's high "spare...monstrosity", Rog's timpani for "Bismilah", Fred's bass-voice for "no no..." and "beelzebub...for me", and overdrubbed drum-part for rock section, the multi-tracked guitar fanfare (my favourite bit in the entire song) and at the post-end there's some talk between Rog and Fred.
Track 17: During the intro there's yet another unused guide vocal from Lord Teeth, plus the "wind blows" flanged cymbal. During the solo, Bri's rhythm guitar. "Very very frightening me" is another unused double-tracked soprano Freddie; "he's just a poor boy...monstrosity" has a baritone Freddie, double-tracked. "Bismilah" has Fred's bass-voice, double-tracked as well. "Never never... let me go" is an unused take, off-pitch in "go", "Beelzebub...for me"has Lord Teeth's double-tracked bass-voice, Fred's lead vocal in the rock section, an overdubbed (unused?) piano part, high harmonies during the reprise, and Fred's lead vocal from "nothing really matters" to the final line, after which he tries another "blows" and then says "no".
Track 18: Another unused guide vocal for the intro, "wind blows" flanged cymbal again (they had two takes of these things in order to mix them stereo), Bri's rhythm guitar during the solo (ditto), middle part for "lightning...me", a "Magnifico" fragment, Rog's excellent falsetto in "he's just...family" and "spare...monstrosity", although in the latter it sounds like there are more people there. Fred's low "Bismilah" again, and, again, "let me go" is off-key; "Mamma mia let me go" is a weak falsetto by Bulldog-Face, but then the third "for me" is the famous high soprano Bb. Rock section has the remaining part of Fred's overdubbed piano and another take of his lead vocal. In the reprise there are some angelical harmony vocals, with Roger's dominance; for the "nothing really matters...wind blows" there's another lead vocal (very similar to the final one).
Track 19: Fred's unused guide vocal for the intro, then the beautiful guitar-chimes of "shivers down my spine", another rhythm guitar during the solo, then another part of the "lightning...me" choir, fragments of "Magnifico", "he's just a poor boy...monstrosity" is very similar to track 18, "Bismilah" has Fred's low vocal, double-tracked but done only twice, then another off-pitch "let me go" (why on earth did he have so much trouble with that word and that note is beyond me), then a double-tracked high F by Rog during the last "for me", an unused lead vocal for the rock part, one of Bri's guitar scales, a lead guitar during the fanfare and at the end the famous gong.
Track 20: Another unused guide vocal for the intro, another take of guitar-chimes, a double-tracked baritone "lightning...me" by Fred, "Magnifico" fragments, more bounce for "he's just ... monstrosity", Rog's soprano in "let him/me go", double-tracked bass-voice by Lord Teeth at the end o
|Track 21: Another unused guide vocal for the intro, guitar harmonics during the ballad section, a very weak double-tracked falsetto during “thunderbolt and light” (missing the end of the word), Fred’s soprano “Galileo” (edited out in the final version), a (probably unused) weak falsetto for “he’s just a poor boy…monstrosity”, the first two “Bismilah” words having double-tracked bass-voice by Fred (I wonder if he could even talk after these sessions), “never…let me go” having again off-pitch ending, a rhythm guitar at the end of opera, two more scales at the end of rock, another beautiful guitar part for the fanfare and the famous fingerpicked descending guitar line before the last vocal part. Sans the guitars, it seems that this entire track was muted in the final cut.
Track 22: Here, they compiled the ultimate lead vocal for intro and ballad (partly copying things from other tracks), so they wouldn’t have to worry about switching more things on and off that they already had; note the second “carry on” is overlapped by an “as if”. Opera section too has THE lead vocal (“I see a little silhouette of a man”, the low “Galileo”, “but I’m just a poor boy nobody loves me”, “easy come easy go will you let me go”, Rog’s high “let me go”, Fred’s low “let you go” and the rough “oh mamma mia mamma mia”), double-tracked bass-voice by Fred at the end of the opera section, then piano overdubs (note that “just gotta get out” is different from the main one), more guitar scales, another guitar line in the fanfare and the complementing descending bit near the end.
Track 23: Unused guide vocal in the intro, the famous “anyway the wind blows” and a falsetto ascending-descending harmony, both by single-tracked Freddie. For the opera bit, we’ve got Rog’s high “Galileo” and double-tracked “he’s just a poor boy … monstrosity” falsetto. Then Fred’s double-tracked bass-voice in the first two “Bismilah”, another unused “never never… let me go” and another double-tracked bass-voice by Fred at the end of opera. Rhythm guitar at the end of rock section, and some guitar ornaments during the piano solo.
Track 24: Another unused guide vocal in the intro, another take of 23’s ballad harmonies, Fred’s low “Galileo Figaro”, a high falsetto during “he’s just a poor boy…monstrosity”, Fred duplicating what he did in 23’s during “Bismilah”, another off-pitch “never…let me go” line, another double-tracked bass-voice by Lord Teeth at the end of the opera section, and the missing part of the puzzle: another guitar at the end of rock and beginning of reprise (the one that keeps playing when Fred sings “nothing really matters anyone can see”).
[note: not my list. I downloaded it from Queenzone. Happy to credit it to its owner if they want to clarify who that is]
|master marathon runner
Are you sure?
pittrek wrote: I named mine "Mr. Big", why do you ask?I laughed.
|I feel left out....I don't have one !|
|The Real Wizard
|It's hard to name a lot of the tracks, because so many guitars and vocals are just squished in wherever possible !
It's amazing that they managed to remember where everything was when they mixed it. This is long before the days of automation. Just imagine 7 or 8 pairs of hands at the board while doing the final mix.
The Real Wizard wrote: This is long before the days of automation. Just imagine 7 or 8 pairs of hands at the board while doing the final mix.It's not. Automation had already existed for some years and had already hit Britain since at least 1974. Granted, it was still rudimentary compared to Protools and stuff and it had the major disadvantage of consuming two full tracks with data (I suppose that's what happened on 'Get Down Make Love') and, granted, after trying Allison they wound up mixing it manually with 3-4 (not 7-8) pairs of hands working as a coordinated team but the reason was not that the technology wasn't available, it's simply that they felt the cons outweighed the pros.
We can obviously 'just imagine' a romanticised view in which there were 7-8 pairs of hands and automation didn't exist (and wouldn't for a while) and that would make the song's heroic myth seem more spectacular, but it would still be false: automation existed and was already being used by contemporaries (and by Queen themselves), they just opted for manual.
Jesme wrote: I feel left out....I don't have one !I think this might be a good way to get someone to offer one to you.