I posted this on BTR a while back but it needed something so I asked FluteCafe to listen to it. She did and then recorded a part which really helped the piece; so we wanted to share it here. Thanks for listening
I thoroughly enjoyed that guys - that was really great! At first I was thinking it was way to dry, but it kind of grew on me. So I’m still on the fence there, but otherwise really smooth, baby!
Jazz purists tend to prefer drier sounds on their instruments but we do have a slightly wet version for more of an easy listening style as well. I think its this… though its a rough mix.
thanks to @ingolee for the opportunity of this collaboration. I thoroughly enjoyed playing flute to this. No sheet music was prewritten, just turned the mic on and played by ear along to his music.
Jazz “purist” or not… I definitely prefer this version!
Very tasteful use of reverb @FluteCafe, I’m conservative with reverb but that works nicely! And thank you for contributing to this tune, it has a whole new life now.
@miked thank you for listening and offering a good suggestion, I always learn something on this forum.
This is just awesome from both of you. Those quick little accents keep it so interesting 53 - 55 was a tad loud. So picky ha ha. Very mood generating. Congrats on some very good playing from both of you.
Flute + Jazz = “Flazz” I had to make up a new word since “jute” is already taken. I’d probably vote for the wet version … it’s more … Flazzy.
Thank you for listening @feaker , we appreciate that. Very cool since I know you usually prefer vocals!
Thank you @Stan_Halen, wet and flazzy it is then!
The Jute Box!
Good job on this, you two!
Very nice! The original sounds good, but I like the “air” around @FluteCafe 's mix. Ostensibly, Michelle’s version still sounds “dry”, but it has a nice sense of subtle space to it.
I notice a lot of home studio people shying away from reverb. I think reverb has been given a bad rap in general, especially in the minds of people who remember the '80s (too much, too long, too bright, slathered over everything) and the reaction against it in the '90s (everything as [supposedly] dry as a bone - sometimes somewhat claustrophobic & “small”). I think it’s one of those things (like eq and compression) that you have to get wrong before you get right… But to my ear, not using any ambience at all can sound as amateurish as using too much/they wrong type. (Just to be clear, I’m not saying that is the case here)…
My suggestion would be to pan the main elements out from the centre a bit, so that they “play off” one another. It would give a greater sense of a musical conversation happening.
Thank you @Wicked for listening and commenting, it gives us encouragement!
Great suggestions @ColdRoomStudio and great analysis of trends in audio treatments. I said I was conservative with reverb but when it’s done well it definitely adds to the mix and I rarely leave it out completely. And we did have a lot of fun with those old Fender reverb units!
It is certainly easy to overuse it though, some of the audio libraries bake in a certain amount to their samples which can be frustrating. And I’m sure you know how easy it is to lose the definition in a guitar part that you have worked hard to bring clarity to.
So thank you for helping here, you do quality work and help others too which is a great asset for us all.
I’m just now getting around to listening to other people’s music, seems like forever, but that is one of my many weak points.
I listened to both versions, and I like them both. The reverbier one was so marginal I barely noticed after a minute. I appreciate such attention to detail in timing, tone and melody. It is a treat to hear you free riff, Michelle, defining jazz anew for us all. Ingo, you tend to be more organized and planned, strategized and arranged, and Michelle’s contribution really softened you up and added spirit and heart. Perhaps there could be more “improvements” but I am left feeling its completeness. All I wish for is more!