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Mike B

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Mike B last won the day on March 31

Mike B had the most liked content!

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190 Excellent


About Mike B

  • Rank
    Acousticus Bostonicus
  • Birthday May 1

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    Methuen, MA
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  • Lyricist, Composer or Both?
  • Musical Influences?
    Todd Rundgren, Neil Young, Beatles, anyone and everyone!

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  1. Mike B

    How I do vocals

    What Justin said^^^ For example, during a chorus, where the music is louder (and there might be backing harmonies), you might want the lead vocal a little louder. But other times, you might want it less loud to blend in better with the harmonies. This is most easily accomplished with automating the volume. I tend to use compression to make the vocal sit better in the mix - this is more needed in a 'busy' mix or a hard rocking mix than a 1+ 1 or quiet song. Another good trick with automation is to turn on an echo/delay at the end of phrases, or at the end of a song - interesting effect when used sparingly. A compression trick I use (now) - gentle compression - with maybe a 5 to 8 dB reduction with a slow/long attack and decay, followed by another compressor with a smaller (2-4 dB) reduction. I use ReaComp compressor in Reaper, may not be the best one out there, but comes with a lot of presets that one can then work with further.
  2. Aha, you need to click all the +'s first, makes sense.
  3. I haven't been able to 'multiquote' that way either - even if I open up another window/tab, and copy the 'quote', it doesn't paste correctly.
  4. Mike B

    How I do vocals

    I find it interesting that as I do more and more mixing, I find ways to make things (i.e. my lousy voice!) sound better. I always read to add some 'air' to the vocal EQ, meaning bump up the 10K-12K range (which is right at the top of my old hearing). Recently I put a spectrum analyzer on a vocal-only studio recording of one of my favorite performers (incidentally, a Canadian with a somewhat nasal voice) and I found an interesting EQ bump in the 2K-6K range. I was usually EQing that range down a bit, with an even more sharper dip around 7K for the 'esses'. Bumping up that range just a little produced a much fuller sound, to my surprise. YMMV of course.
  5. Mike B

    April 1+1 Song Contest - Results Updated

    True, that the melody is same for each half of each verse.
  6. Mike B

    Between the lines

    Not clear to me, the two references to Mondays and 'think about it on the weekend' didn't give any clue to me. I just UrbanDictionaryed 'feen', I see the reference is from 2016, is this really being used in language these days?
  7. Mike B

    April 1+1 Song Contest - Results Updated

    Hi fab, curious comments, (to my mind, anyway), as the verses are each two 'triplets', so an AABCCB rhyme scheme, with a single chord pattern only done once for each triplet; and the chorus is a 'hook line' followed by a rhyme line, twice, (XAXA) with the 2nd and 4th lines having a different chord pattern.
  8. Mike B

    Ghost in a Mirror revision 5-10

    Sorry, you've lost me, starting with the syllable count. 'Motif' doesn't mean anything to me in this instance, I'm not sure what you really mean. The song is sung/played like: Your day breaks,/ your mind aches 3 syllables/3 syllables first note in each section nothing is sung - there is a 'pause' to start each part, maybe this is what you mean? Obviously its not something you READ, but only HEAR in a song. You find that all/ her words of kindness/ 4 syllables/5 syllables linger on Though she/ no longer needs you 5 syllables/5 syllables
  9. Mike B

    Ghost in a Mirror revision 5-10

    Oh, thanks, I like that! Interesting comment that you don't think the character needs naming. 'She's', unfortunately is only a single syllable compared to the 3 of the name, not sure if melodically I can adjust that. As to the stable/unstable issue, it's just what my tastes prefer. A verse with an odd number of lines can certainly 'force' the way to the following chorus, for example, by creating the need to complete/resolve. I took the Pat Pattinson course so understand what an unstable form is supposed to do, just not a fan of it. "writer with much success´╗┐" - I thank you for the compliment, but success? Not really. But if I touch a heart or mind with one of my songs (and I have had those type of comments from a few people), then that's 'success' to me. Kissed under the oak in the growing dark
  10. Mike B

    Between the lines

    Exactly! You went into great lengths on your other lyric I commented on to explain what you mean with various lines, or how 'you liked how they sounded', but if you want your lyrics to elicit the same feelings/ideas as you get from them, then they need to be more concise. Of course for some songwriters, the 'sound and flow' of the lyrics is more important than the actual meaning behind them, but then they would not want comments on the lyrics themselves, only full songs. *keep or sweep*
  11. Mike B

    How I do vocals

    Murphster - although 'presets' can be a good starting point, you should experiment with settings for EQ, compression and reverb (to start with) to see how they affect the sound. I used some presets on compression until I watched a couple of youtube tutorials and found that the sound improved by changing some of the settings (longer/slower attack on lead vocal, for example, lets the vocal 'sit' better in the mix).
  12. Mike B

    Ghost in a Mirror revision 5-10

    But that's only if you look at the line length as written out without the music - the 'linger on' and 'she has to hurry' really are part of the next line when they're sung, so each line becomes two halves, but the only rhymes are the first lines' internal rhyme, and the refrain 'she no longer needs you' at the end of each triplet (and that 'refrain' changes in subsequent verses). It's really a 3 line verse: Your day breaks, your mind aches You find that all her words of kindness linger on Though she no longer needs you (next triplet): She wakes up, she makes up She takes her time and doesn't feel she has to hurry She no longer needs you
  13. Mike B


    I like this, no nits on it. I could hear it sung by a real songstress (Pat Benetar, for example) with softer verses and powerhouse choruses.
  14. Mike B

    Heartache on a railroad

    Hi Micah, this could work, but musically, you would do best by thinking in a more 'traditional' manner as to song structure, for example AAAB. I don't think "Tell me your liar" is what you mean - because it's not proper language, I don't understand what it is supposed to be. "heartache on the railroad" is also confusing - what do you mean by that? You may think that this bares your soul and you understand all the inferences and subtleties, but if you want your song to touch others' feelings, then you have to consider how they will interpret (or fail to) your words.
  15. Mike B

    April 1+1 Song Contest - Results Updated

    Looking at how many '4's (and one 4.5 and one 5) are shown, I'm wondering if some others might have done some 'backwards' scoring, too. I didn't give anyone lower than a 3.5.