Reviews for "Falls Through Walls (694 Miles Apart Mix)"

Falls Through Walls (694 Mile...
by Kaer Trouz
Recommends (20)
Fri, Mar 28, 2008 @ 9:47 AM

Samples are used in:

permalink   Sat, Mar 29, 2008 @ 3:25 AM
the song great and the arrangement is really cool, the final mix is a little squashed - it’s all mid-range. I really like this and hope you can do something about the mix…

(and sure, “Jets” is great, but “Another Green World” is life changing ;))
permalink   gurdonark Sat, Mar 29, 2008 @ 3:27 AM
For me, “Before and After Science” is just grand—but it’s “Music for Airports” that really changed everything.
permalink   Kaer Trouz Sat, Mar 29, 2008 @ 9:06 AM
I may have over-compressed this on the master track, because everything was running all over the place and I was trying to get it back in control. I will check the ratios, threshold and maybe try to solve it with an eq adjust, rather than compression.
*sigh* I wish the production was as forthcoming as the poetry….
permalink   fourstones Sat, Mar 29, 2008 @ 11:37 AM
your mixes are great and I don’t want to presume but sometimes it helps to knock all the levels down and bring everything back one by one, bringing in the middle stuff last (guitars, snare, syth pads, etc.). Personally I would say this song is worth it.

Also, I hope you guys publish all the samples in the project ;)
permalink   Sat, Mar 29, 2008 @ 5:47 AM
without too much analysis and just a gut reaction…I love it…has a great sense of longing and loneliness. The mix music supports the vox (which by the way is beautiful) -“my empire falls through dream soaked worlds” -poetic, dynamite lyrics.
permalink   Kaer Trouz Sat, Mar 29, 2008 @ 9:07 AM
thank AM.
permalink   Sat, Mar 29, 2008 @ 12:57 PM
WOW! This is an epic!

Sorry to respectfully, but strongly disagree with my friend essesq.

There is nothing wrong when a piece wanders around between instrumental, ambience and song. It reminds me of the great days when albums were still albums. From Abbey Road to Wish You Were Here and The Lamb Lies Down On Broadway or maybe even something like Paranoid Android, for me this piece continues a long and proud tradition of mini symphonies. It kept me mesmerized throughout with it’s changing textures and flowing musical metaphors. Don’t change a single note!

If you fiddle with it at all, maybe just with the EQ a bit to capture a bit more of a wider spectrum as per 4S’ suggestion. That being said, even this way it is fabulous!
permalink   Kaer Trouz Sat, Mar 29, 2008 @ 1:21 PM
wow! that would be some company to keep. Thanks for such encouraging, and humbling words. I feel that FB’s contribution gave this the epic feel- it’s really astounding- his playing.
permalink   Sat, Mar 29, 2008 @ 3:43 PM
I really, really like this!! Your vocals sit in there perfectly to me- not overbearing, but not buried by everything else going on, either. No complaints here!
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:27 AM
Thank you duckett!
permalink   Sat, Mar 29, 2008 @ 8:52 PM
I just commented on me old mate LS’s mix that the musics not for me but his production skills are first rate.

This one is slightly the other way around!

Now it comes down to are we here to produce technically and hopefully beautiful music or are we here to express ourselves and if the two criteria are met OK so be it and lets give ourselves a pat on the back!!

For me the technical side is always secondary to the musical input but that said when the sound is right the message is heard so much better.

This mix is excellent and the way you have used the vox with the backing track is great. The whole piece has a marvellous feeling about it and this far outways any engineering defects that at the end of the day can be put right by a host of techno people.

Its the feeling the music gives that is so much more important and that is never easy to get right.

Brilliant stuff!!
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:20 AM
You have a keen ear (obviously) for the backing track. I have been playing around with different settings on vocal doubling for a while now- glad to hear it’s working for once.
I was worried that someone would put this through one of those graphic analyser doo-dads and find that the mix actually didn’t exist at all:), I still feel timid and nascent whilst mixing so the encouragement is greatly appreciated.
permalink   fourstones Sun, Mar 30, 2008 @ 11:16 AM
Quote: radiotimesNow it comes down to are we here to produce technically and hopefully beautiful music or are we here to express ourselves…

heh, feel free start a forum thread to ask the sponsors and creators of the site what the intent of the site actually was/is…
ditto ditto
permalink   Sun, Mar 30, 2008 @ 12:37 AM reverb..really..?
You must have forced yourself..;-)
And the sound of your voice is perfect like this, without effect (and your way to sing too..).
The melody that you have written for this one is absolutely incredible, great. It’s a pity that the harmonys of the piano doesn’t accentuate it a little bit more (but maybe it’s due to the way to work in collaboration, the distance.) This melody is really beautiful, really.
Every sound of the arrangments is a good idea, the complexity of the structure is excellent, i love it..
And the part of piano, at the end, is sumptuous..
Nice work, one more time, surprising, so personal, original, complex…brief, the work of a complete artist..
What can i’re the best..that’s all..!!
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:27 AM
ditto! No reverb for you. Now I have to understand loveshadow’s comment about needing reverb for no reverb (see below).
The piano I wanted to use primarily for percussion and less of a melodic part, I think (I think) the vocal melody comes from the guitar line. One can never be sure. Thanks though, again for everything.
permalink   Sun, Mar 30, 2008 @ 4:33 AM
This is a great mix. I appreciate in particular the way that you keep the enunciation and the levels on the vocals clearly understandable in a dense mix.
I like the progressive/art rock stylings of this one, although for me it is less Eno than a later generation, as if Saxon Shore somehow added a vocalist and a wicked beat. The guitar work is really fun on this one. I kept thinking that a reprise of the key riff/rhythm would come at the end, after the keyboard section, but it never quite happened.

I think that the dilemma in this kind of mix is whether to keep the orchestration quite this dense, or whether to build in more silent spaces. I could imagine a few interludes in this one in which the keyboard or the guitar line are a bit less surrounded in the mix. Yet a “wall of sound” is pretty standard in this type of work,and it works perfectly well here.

I suggest you might add the tag “heartbreak”. The lyrics here work very well with the song, and the exuberance you bring to your vocals works well in this more exuberant mix.

A solid, capable job, resulting in a really good song. Well done.
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:25 AM
I know- it was 20 tracks which is about 11 more than I usually use. There was a bunch of rich material available for this, the piano bits came out well, FB’s guitar line which was massive and epic, and of how and what to sing. I keep trying to simplify myself and it keeps not working.
Thanks as always for a thorough listen and intelligent comments.
permalink   gurdonark Sun, Mar 30, 2008 @ 8:42 AM
In a way, even constructive suggestions are minor shame, becuase the mix stands so well on its own.

I’m not much in the challenge business, but it came to me that it might be fun for you to do a “good enough for the Ramones” mix, i.e., with the following rules:

1. no longer than 150 seconds
2. guitar, bass, drums, vocals
3. no more than 4 tracks
4. as direct as you wanna be.

It might be a fun exercise for you.
The end result is that you’d return to the richer mixes you do so well, but it might be fun to have thought in hyper-simple song structure that way.
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:45 AM
ok well then I am back in the band I was in in 1994!
permalink   gurdonark Sun, Mar 30, 2008 @ 8:47 AM

Times have changed so much in that time. Perhaps it’s easier when you don’t have to record to a TASCAM 4 track cassette
permalink   Sun, Mar 30, 2008 @ 5:54 AM
well apologies first for not being over here before but i am playing catch up now.

well once again while people try to second guess my approach and what this needs i for one would not change it sound wise.

If you did, you would have a different piece of music. The Lo Fi under produced atmosphere of this is to my ears fine for the style.

Bands like Lo Fidelity All stars use techniques to get their tracks to sound like this. Now that not may not have been your intention but that’s where it is.

If i were producing you i would keep this feel and just get a better balance on the theatre of the setting.

Now if you were hoping to sound like U2 and missed the boat that’s another matter.

It’s a question of application and direction and i think your direction is just fine.

By the way to get a `no reverb sound ’ to sit in a track you need reverb. Odd that isnt it.
permalink   Kaer Trouz Sun, Mar 30, 2008 @ 8:17 AM
I appreciate your input & thank you from FB & me- I realize more and more, that unfortunately (or not) my point of reference for mixing lies heavily in the 1987-1993 era and I was definitely one to let my records lay around and get super scratchy. I should probably address this if I want to move forward.
permalink   Sun, Mar 30, 2008 @ 6:10 PM
Really enjoyed this, great arrangement, great vocals and feelings and yes Piano is very nice at the end. Well done :)
permalink   Tue, Apr 1, 2008 @ 4:54 AM
Love it. A real journey.
permalink   Tue, Apr 1, 2008 @ 10:48 AM
Very cool mix and much deserving of the 12 Recommends so far :)

I agree with the general feeling of a production issue. Though, when I listen hard it seems like it’s only certain instruments which suffer. The drums and (percussion in general) are very peaky in the mid-range. Maybe a remix with alternative loops, or some EQ specifically on those channels?

I say this because later on in the track when there’s no percussion, just the guitars and atmospheric sounds, it sounds balanced.

I’m no expert on compression issues, but it does sound a bit over-squashed to me too.

This sounds like I’m being a bit negative, not at all, a fabulous mix which obviously took a lot of effort and time.

Excellent stuff :D
permalink   Tue, Apr 1, 2008 @ 2:22 PM
I didn_t read all comments but have seen that some production issues were mentioned. Well, for me there aren_t any remarkable ones. The range of choosen eq settings here and there are going very well and for my understanding, everything works fine that way. A stunning production with a more stunning emotional and good sounding voice. Congratulations for a remix(?) with a lot of dimensions! :-)
permalink   Sat, Apr 5, 2008 @ 4:36 AM
So sorry i took me so long to get to this, but i just moved and trying to get settled. Ok down to business. I love the piano, and that drum loop is pretty cool. I would have done a few things a bit different in the mix but it not a big deal.
I’m digging the feel of this. Very Good work.
permalink   Sat, Apr 5, 2008 @ 9:23 AM
So much has been said already…Nicely done, smooth and ephemeral. That’s all I can add.
permalink   Sat, Apr 5, 2008 @ 10:17 PM
Love it. I agree that the mix is squashy, but I think thats part of the charm, and that it actually adds to the mood rather than causing a problem. Loving the lushness of the arrangement and the fading in and out layers, it really adds a vibrant energy to the track.
permalink   Thu, Apr 17, 2008 @ 3:01 PM
congratulations on this mix, just heard it for the first time. this really works for me.
permalink   Fri, Apr 25, 2008 @ 9:17 PM
Returning as promised … This time with eyes closed and ears and mind open. This is a really great track. It has both the expansive sound of a big rock show in parts and a much more intimate atmosphere in others. The fact that I could see the show in my mind as the song played is testament to its power. Hope you have a lot of money if you want to stage it though ;-).

One thing I always look for in a mix is spacing and this one is done so skillfully. It fills the audio field so well, each element having a home and playing its part so well. I love the choice of instrumental voices, and the fx and production tools you used to bring them together.

Most importantly this piece carries the emotion and message of the vocal which is strong and noble. It is vessel for moving that forward without eclipsing it. This is very powerful stuff.

And if you want to continue the Eno discussion - you can find me offline. For my 20th birthday (which was quite a few years ago) I wanted only one thing, a boxed set called “Working Backwards” containing all of Eno’s work from 1983-1973 on glorious vinyl. It remains within sight of me when I work on my mixes etc.