SAN FRANCISCO + PESCADERO, CALIFORNIA
Michael Musika and Jason Cirimele use this document to compare notes and approaches to mixing a recording project that has taken a long time to finish but I think it will be finished now whereas for a while it seemed like I would wind up at the bottom of the sea well beforehand. The Band is called The Light’s Witches. The record has a working title of “Oslo.” 🌙
MICHAEL MUSIKA'S RECORDING STUDIO. SAN FRANCISCO, CALIFORNIA.
-Thirty “mirrors” later in verse one should say thirty “years” later. See my version for correct L VOX comp to use. (I can send it to you.)
-Guitar stabs in the verse are perfectly EQ tactics and sound fantastic.
-Cool low, growling bass sound, and incredible care and attention to detail with all the subtle rhythmic and harmonic lines. (In the session I was working from you had some insane ones that I think are illegal in church and I was shocked how great they sound. Never even would have occurred to me that it was possible unless by mistake.)
-Good drum sound / new edit of part to make it more like a wild cat that is fit and good at catching dinner with stealth and violence.
-Beautiful creation of a sonic garden, and one that could be cousins with what you created for “Estas Lagrimas.” This is what we are going for. As you will see from my notes on my version, I think the only change I would push for would be to use my eight million vox tactic and send them boys to reverb and delay.
-Used the old drum part cuz I don’t have the new chopped one.
-Used my eight million cooky backing vox tracks throughout. I like it this way. I’ve also bussed the vox to a space echo, and a reverb.
-I took all the many midi tracks and applied the same sample. A “labs” instrument called “moon guitar.” It does create more space and is illustrative of a bold approach to do so. I’m not sure it’s necessary but it was a fun experiment. I do like how it makes space for the jangly guitar part on the “super chorus.”
-I kept the Rhodes instrument as a Rhodes. Lots of beautiful playing and parts in there from you. It may be a bit busy at times which can be moderated through either mixing or editing. You may have already done so but I’m working from an older session.
-Added sample at the end which I feel good about.
💀 💀 💀
I think all that remains from my point of view is as follows:
1. We decide if you are going to want to kill me cuz I want the vox the way alluded to.
2. If I remain alive, I need to send you proper final lead vox comp, as well as all the backing vox tracks.
3. I need to send you the sample of the 1960s telephone recording I’ve added to the end, provided you enjoy its presence. If not I suppose we go back to number one.
THANK YOU!