So you've done some channel isolation, which is always interesting to study. Some of it sounds like you tried harder to isolate, other parts there's channel bleed that's really difficult to remove - I know, I've been there.
I made quite a few of these back in the late 90s using more primitive software, but the end result is usually the same.
You get something that has little flashes of crazy, like the harmony guitar and ending chorus voices.
But you also get lots of repetitive bits that were intended as a bed from which the crazy bits would jump :)
What I really appreciated was when people would take those interesting isolated bits and re-use them in a different configuration that was still, all the way through, a "song".
I tried that with varying degrees of success, but it takes practice to get good at it.
I don't know that anyone is going to touch C_Matt's (where _is_ he, anyway?) ability to laser-focus an EQ down to the change in Roger's pocket.
But once you figure out how simple isolation works, you can take the more interesting parts of it and make it show up in an arrangement of a song that still makes sense as a song in its own right. If you like.
So keep doing it - it's fun as a fan to discover little hidden bits.
It always breathes life into this forum when you expose the brilliance we all know is there, in every Queen song. Yes, even that one (meow).
Thank You ern2150, for your input... I do try to take things on board.. hopefully one day, there will be a program that will be able to fully isolate aspects of a song without any other seepage... I mean even the created a Capella tracks on the Freddie Boxset has the music seeping through & that is done by professionals..
cmi wrote:
Backing track mix leak through headphones during the recording of vocals.
If you mean what's said on the FM boxset notes, I've always called BS on that theory tbh.
It's not an acappella or separate vocal take, IMO. Headphone bleed my arse: it's a fake demo and they know it. They've sugarcoated it with marketing drivel.
I can't tell if you're joking. It's a feature on lots of vocal (and even orchestra) stems, especially when you get several layers of vocals on the stem and the layers of headphone bleed build up.
Also regarding the original mix - some nice parts, but the extended bass / piano bridge needs tidying - maybe pick one bar to repeat rather than repeat the whole section as you can hear where it loops.
Maybe try the whole heavy instrumental section (minus the guitar solo) in it's entirety and THEN have it go around again with the complete solo. That would've been nice.
2 Thistleboy1980:
That's your point of view. But I think you not familiar with a process of spectral separation or waveform substraction...
Yes, similar result (with such clarity and no artifacts) can be achieved only if you have instrumental mix with the same stereo field/volume and effects as well.
But it's very hard to make as it was originally an analogue mixing process with all its tape speed fluctuation issues.
Back in 2000 and even nowadays no one can extract the vocals from the stereo mix with such clarity if you have only this stereo mix available.
No one in QPL will bother to spend weeks to create this track. It's worthless in terms of money and time. By the way it's not a highlight track from RARITIES 1 CD for such efforts.
ern2150 wrote:
So you've done some channel isolation, which is always interesting to study. Some of it sounds like you tried harder to isolate, other parts there's channel bleed that's really difficult to remove - I know, I've been there.
I made quite a few of these back in the late 90s using more primitive software, but the end result is usually the same.
You get something that has little flashes of crazy, like the harmony guitar and ending chorus voices.
But you also get lots of repetitive bits that were intended as a bed from which the crazy bits would jump :)
What I really appreciated was when people would take those interesting isolated bits and re-use them in a different configuration that was still, all the way through, a "song".
I tried that with varying degrees of success, but it takes practice to get good at it.
I don't know that anyone is going to touch C_Matt's (where _is_ he, anyway?) ability to laser-focus an EQ down to the change in Roger's pocket.
But once you figure out how simple isolation works, you can take the more interesting parts of it and make it show up in an arrangement of a song that still makes sense as a song in its own right. If you like.
So keep doing it - it's fun as a fan to discover little hidden bits.
It always breathes life into this forum when you expose the brilliance we all know is there, in every Queen song. Yes, even that one (meow).
I've just heard the mix, and I can't add much more to the above comments, which I agree with. This is one track I'd really love to get the stems / multi-tracks for, as it has loads of hidden depths which would be fascinating to explore.
A Word In Your Ear wrote:
I not done any Mixing for a long long time, so I've Been Playing with this song.. Hope you like it.. Honest opinions, good or bad are welcome....
Nicely done, I'd say !
Check your PMs, please and thank ye.
Very good work. This makes it obvious that there's plenty of possibilities for turning the song into different compositions. I want the stems right now! :-)