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Breakdown of all the small things


Knapppers

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7 hours ago, boxelder said:

if anything, i wish we could see how responsible finn was for how their post-DR music came out. because some of it is obviously pretty next-level poppy, while a lot of it feels like a natural progression, songwriting-wise. i'd be inclined to give blink a little more of the credit. while finn probably guided the song along the way and toyed with its structure, it's important to remember it's still tom's song. and i always thought the simple as hell keyboard parts roger manning would add to blink (first date, always come to mind) were very important! if anything, i see the success of ATST to be a big group effort than our lord and savior jerry finn. 

similarly, feldy's not 100% to blame for what we're getting now. mark and matt are still choosing to write/record these parts.

Maybe I'm stubborn, but I still refuse to believe Mark or Matt wrote more than 80% of California. I just think that Feldmann wrote most of it, for whatever reason.

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I'm not that good of hearing, but I thought the keys in ATST were pretty noticeable. Maybe I spend wayyyyyyyyy too much time listening to their albums in high school, but I thought that was very noticeable on that particular track. Also doesn't Dammit have something like that on the single version?

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4 hours ago, Scott. said:

Cool video. I’d give anything to have every blink instrumental 

I am pretty sure there is a way to do this.

A program or something.

There are way too many instrumentals that are legit original recordings with vocals/drums/guitar removed and they are not rerecords. No way all these people have the master tapes that are likely locked in vaults.

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1 hour ago, Olidamus said:

I am pretty sure there is a way to do this.

A program or something.

There are way too many instrumentals that are legit original recordings with vocals/drums/guitar removed and they are not rerecords. No way all these people have the master tapes that are likely locked in vaults.

Without having access to the original files, to my understanding, the most you can do is isolate frequencies and that's usually how it's done because vocals tend to be the main melody so they're usually in the higher register, whilst the instruments will (again usually) be further down.

@Ghost knows more about this shit then me but I'm pretty sure that's how. 

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1 hour ago, Kay said:

Without having access to the original files, to my understanding, the most you can do is isolate frequencies and that's usually how it's done because vocals tend to be the main melody so they're usually in the higher register, whilst the instruments will (again usually) be further down.

@Ghost knows more about this shit then me but I'm pretty sure that's how. 

Well, that's what we can say on the paper. But on the real world there is 'leakage' all over the final 'closed' song, so to say. On a final mixed song you can find on any kind of release, physical or digital, all the things are mixed (and in the case of digital lossy formats, those frequencies are cutted off even more than the original EQ, just to compress the files even more). The problem here is that you can't separate bands of frequencies without taking off any other frequencies, mostly because some instruments are sharing frequencies of other instruments and voices.

You all can do a simple test using some player as AIMP (in the past, you could do it with Winamp too, but that player doesn't exist anymore). You choose the option of taking off voices and play around, and what you get is a dirty version of the song, losing frequencies and even hearing echoes of those voices. Even if you take a final mixed and mastered WAV, and you put it into the proper software, you can't purely separate the voice from the instruments.

So to do that, you need the original tracks or, at least, the stems in which they grouped some tracks prior to the mix ad mastering process. Luckily enough, you'll be able to mute the voices stem/track, and get over the instrumental part without contamination, but even so, sometimes some voice parts (like little harmonies and arrangements like that) are included as effects in other stems, so... well. It's not that easy.

I'm presuming, then, that this guy had the Guitar Hero files, the ones we all have access to, which leaked a few years ago, which are pretty close to what the original tracks should be.

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8 hours ago, ungroovy said:

I mentioned that I have family that knew Jerry Finn pretty well. I passed this along to them to share with his family. They love knowing that people still appreciate him.

Wow, please tell them he is an absolute refference. And thanks for his contributions. His legacy is there. He's an absolute refference for producers.

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Great find, that's an awesome video.

I think the great thing about Jerry Finn was, he didn't add a lot of stuff extras on the songs compared to other producers. But he added exactly what it needed to make it sound huge. I mean listening to those isolated tracks, there is not much going on there( 4 guitar tracks tops, 1 bass track, one synth, but it sounds fucking gigantic.

Feldman would've put aahhs and oohs and multiple overdubbed guitars and synths on to it trying to make it sound full while burrying everything else in the mix and make it sound stale.

The guitar just just sounds fucking great on it's own, no ampsim on your computer will ever sound like that, end of story. it's just a shame so few people are still investing time in finding the right sounds before recording vs just recording a DI signal and sweeping through presets in the mix.

Just 3 powerchords.. but the guitarsound has so much character, you can listen to one chord and know its ATST...

also all the sounds are perfectly fitting together and glue together perfect. Like somebody already mentioned: finn was ahead of his time

feldmann should fuck right off

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I guess he was searching for a internal cohesion in terms of sound for a record. Even if it was the simplest or poppier one. The best example is Untitled. That album is very different from song to song, but instead of provide a frankensteiny feel due to diversity, he managed to make a cohesive sound through it all, while respecting the own songs' identities. That's really hard to achieve and you have to know your shit pretty well.

Also, he was clearly really into provide dynamics. Sure he was into the loudness war too (any commercial record is), but inside it he was able to provide some degree of dynamics. That's something Feldmann just gets rid of.

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13 minutes ago, _Kyle_ said:

Has anything extensive been written about Jerry since he died?

nope. i re-wrote the wiki page for him using the very little sources i could find. there's some good magazine articles about him from back in the day, as well as an interview with him in the mixing engineer's handbook that is super enlightening on his recording methods. but nope. i think he got an obituary in the independent but that's about it. there's a fan page for him on facebook i think that does a great job of storing photos/interviews/etc

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