Running Up That Hill - Mix Engineer Reacts to Kate Bush
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- Опубликовано: 15 окт 2024
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Today we're reacting to the mix of Kate Bush's "Running Up That Hill" from The Hounds of Love - an iconic album, but what's all the fuss about? Let's see if we can pick it apart.
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At this time, Kate Bush just had her own recording studio for the first time and from then on, she began to compose most of her songs through the Fairlight CMI and linn drums, but then for the recording sessions, she always used real musicians and drummers (2 on this album) and mixed their performances with her demos. That's why you can hear artificial and genuine percussions.
And she always needed and used sound engineers but from her third album was always in control of the recording process as she's self-produced.
Keep those suggestions coming!
Yes, please don't apologize for picking other great music, thank you for picking other stuff other then the usual !! 😊 btw, I want to learn more about studio recording dynamics (dbs etc) and mixing , any books you can turn me on to? Thx , great vid!
A Fairchild sampler? Surely a Fairlight CMI. 😀 Easy for me to pull your leg as I don't make videos for you to get your own back. I'd be a muttering idiot.
Thank you for doing these breakdowns. Perhaps if I listen to enough of these I will be able to hear 1% of what you do.
I want to listen to 'And dream of Sheep now', totally genius.
I do that every time! Whoops. “Fairlight”. Fairchild made the 660/670 compressors. Always gets me
Good call on the lin drum mixed with real drums. The drummer, Stuart Elliott talks about this on the Produce like a Pro episode about this song.
Wow your comments guys, just fascinating.. really.. I know she was early with the Fairlight and she loves her Drum and Base too😊.. This sound and of course her voi e and piano it just never gets old to me.. Storytelling too. Wow unbelievable
@12m when you are talking about the dynamic spacing and how much real estate the vocals are taking up when that space opens up, what I want to know is how to get that dynamic in the volume without the noise floor dropping out. You can hear the high end maintain strength through that dip, theres room to breath but the tension isnt lost.
It’s a combination of the right compressors and arrangement
😎 Cool! That's another fav'e from my youth that I can now listen too & appreciate in a totally different way. Thanks 👍
+ an interesting thing for me to listen out for, samples slowing with pitch. I remember that's how it worked from my own tinkerings, but I never ever picked up on it in commercial tracks.
Cant wait to hear the Walk one, my son introduced me to that band and its become a fav
I’ve always though if you take out all Kate’s vocal responses, the yeahs, the ooos and string just them together it’ll make a melody just as good as the original, Sat In Your Lap would be a great example of that.
I was hoping you could have isolated the witchy voices near the end of the song. It seems like maybe they are being played backward.
At 3:56 you are mentioning fairchild but i am prettig sure jou ment the fairlight CMI
nl.m.wikipedia.org/wiki/Fairlight_CMI
This song is a very Moody song For a mid-beat song, but I guess Kate was known for that...
Isn't tbe sound quality of streaming all compressed to shit and just 'mastered' loud, with all finer nuances of the sound simply lost?
Not really no. Volume has no bearing on quality as long as limiters aren’t abused, and streaming compression (which this isn’t since I bought the track separately) is high enough quality that we can hear all kinds of details