I prefer when they are grouped together, this way you can actually do a quick compare.
And I don’t care reading all the posts before listening, so keeping them in the OP makes more sense to me, although you need to separate them more precisely than what we used to do in RR.
Here the player doesn’t show the name… actually @holster would it be possible to show the name of the mp3???
Yeah, I hear ya Patrick… like I said, just trying it out. I got pretty used to doing it the other way at RR, until some folks started having probs with multiple mp3s in the same thread. Now that this is apparently no longer an issue here, at least we don’t have to do that!
Rest assured I’ll do what most folks reckon makes it most productive. That’s the goal, to enhance the interaction. 
Cool song Dave! Looks like you’re on a roll!
Nice one, and for once (although some have said that the drums needed quantization) I find it quite tight, I wouldn’t touch the drums anyway.
Great additions of B3 and piano, nice work from Jony boy here!
Only nitpicks for me is that the snare doesn’t need that much reverb IMHO, but overall, great tones all over.
Not sure the extra guitar solo was entirely needed (sounds a bit redundant to me), so I would have faded a bit earlier, I feel it kind of drags at the end, but that’s probably me not really into the genre anyway.
:beerbang:
I suppose a shorter tail would do.
But I have a hard time deciding these kinds of things unless I try them! 
Same here…I was thinking about your mixes when I read that comment. I typically favor a punchy tight dry snappy snare myself. This one is big, open, dense, and rattley. But it seems fits the song
I’m not sure I favor dry/snappy all the time. I always try to find the best fit for the tune/genre.
Here it just sounds a bit too wet to my ears that’s all.
For what it’s worth, I did not do anything to just the snare, the whole kit is being treated the same. Of course it is easy to go in and make those adjustments if needed…
Listening to the latest mix…
Really nice Dave - you’re really on a roll! Really diggin the tones on this. Drums sound very nice too. The harmony vocal coming in was a real highlight.
For me, I’d like more harmonies - the choruses are crying out for a harmony if you ask me.
One thing that I think could be improved is the vocal “pocket”. To me, it sounds like the vocal is always pushing the beat forward, which kind of lends an urgency to the song that isn’t in character with the lyrics or style of song IMO. It’s probably something you can’t do anything about at this stage without re-singing, and I’m not suggesting that.
However, I thought I would point it out, because you are probably not even aware you are doing it, but I think if you listen to your favorite artists and really start honing in on their phrasing, you’ll develop an ear for the way a vocal can push and pull around the beat and really set the mood for the song. To my ear, this vocal needs to lay back, to be “in the back pocket” - a slightly lazy and behind the beat feel. At present it’s like the first word of every phrase is rushing to beat the instruments to the “1”.
I don’t know if that makes any sense, and I don’t mean it to take away from what you have accomplished here (which is awesome), but I thought it was worth mentioning.
Great stuff
Hi Andrew, you are absolutely right that I am not aware that I’m doing what you are referring to. But after your description, I think I do get it now. Hmm… I’m not at all opposed to re-tracking the vox if it’ll help. I will listen a few more times with this in mind and see if I can grok what you’re suggesting. The kind of push & pull you mention is important to any vocal performance, and it is those kinds of subtleties that will help me take things to the next level. As always, I sure appreciate your sage counsel… and there is no “taking away” here, it’s exactly this kind of input that helps things improve! 
OK Andrew @ColdRoomStudio, I have now listened several more times with your suggestion in mind, and yep I hear what you mean about the “pocket”.
Now: how does one physically sing such that the vocal will be behind the beat as you suggest? I’m trying to figure how I could sing it differently than I already have. If I were a client of yours in your shop, and you had this view, what would you tell me to do while re-tracking? Dance with the groove while singing to try to hang back? Knock back a few whiskies? Strip naked? As you have probably seen with my many interactions with Patrick @ptalbot, I’m pretty notorious for having looseness in the groove (man, that sounds like a veneral disease!), so I’m hoping that the kind of adjustments you envisage aren’t within the “error envelope” of my usual style, such that they’re beyond my ability to adjust, if that makes any sense.
Help me, Obi-wan Kenobi…! 
@Jonathan WOW. Holy crap! That is freakin cool dude!! I am definitely using this in the next rev. What a difference. Brings that rhythm track out big time without overwhelming the rest of the mix. Thanks buddy!!
Hi Patrick, gonna keep this as is-- the fadeout begins about two seconds before the second round of the solo progression starts and pinches out before it finishes, and that’s just how I want it. That way I have one full round of the solo at full volume but not more. I did deliberately go for a longish fadeout on this piece – although the final fade is shorter than what I had initially before posting. Long story short, another style choice.
Hmmm… You ask all the really easy questions, don’t you?
Ok…first port of call is to try swinging the rhythm more. Rather than singing even 8th notes, try lengthening every odd numbered 8th note slightly, and shortening the every even numbered 8th note by the same amount.
Does that make sense? If not, then strip naked and drink a bottle of single malt - nothing will make sense then, but at least you won’t care!
Yes it does. I will take this under advisement and burn myself a “karaoke” version of the track to carry around for awhile and sing to. We’ll see if I can (cough) get into the swing of things on it.
Cheers!
@Chordwainer Yeah your don’t care determination is cool. I would look into this for a brand new free LA2A vintage compressor:
windows 32/64 bit free LA-2A
I think i used it on the bass and/or guitar for the BOZ competition.
@ColdRoomStudio That was for Dave, sorry.
No worries Arber, I read you loud and clear. 
@Chordwainer, What Andrew’s suggesting isn’t mechanical whatsoever. There’s nothing you do with your diaphragm or your enunciation or vibrato or whatever. It’s completely in your mind. This is gonna sound bizarre, but listen to Frank Sinatra, Ella Fitzgerald, and Michael Buble’. Not the slow milked out ballads, but actually the quicker tempo’ed stuff. Pay attention to how they start their phrases just a milliseconds behind where the beat actually falls. And see if you can ‘feel’ what we’re saying.
I think the best way to get a handle on this is to pick a random song, pull it up and youtube, and play the vocal melody on your guitar. Say you pick Wonderful Tonight. Forget the chords, just play the melody that Eric Clapton is singing, right over him singing it, and see if you can make the guitar communicate the same vibe that he is with his voice. Doesn’t have to be perfect, just capture the vibe. Single notes, but don’t rush him. Stay with him.
Ever seen a classical pianist blurting out random vowel noises as he plays a piano piece with no lyrics? There’s a connection between your mind and your hands. If I can sing a Bach prelude as I’m playing it, it forces my fingers to adapt to the phrasing that I sing. And the opposite will work. If you can play the melody in a meaningful vibey expressive way, you can make yourself sing it like that too.
I would suggest maybe taking a run through with your guitar a couple times. Mute the lead vocal, then play instrumentally through the whole song. Make your guitar ‘sing’ the expressive laid back and soulful groove your voice will start to understand what it needs to do
That is probably the best advice! 
Good stuff, Jonathan! That’s great advice right there.