From this filtered instrumental version you can see that Tarja's approach to music is way more personal and self-centered whilst being a well written track. On Dark Star, for example, you can Max Lilja's cello a lot more and also the guitars, so you come to appreciate more the structure of the song and the melodical line without vocals. You clearly can figure it out where the lyrics are supposed to be whilst understanding that guitar work isn't that complicated and works together with the all the other instruments. Sometimes I wish the guitars to punch a bit more and have their own pattern thus serving more than an accompanying part. Little lies is a song based on heavy riffs, but it is still linear. That's the biggest issue in symphonic rock or metal, to find the balance between instruments that can't go regularly together and harmonize, therefore you have one or the other being static or linear in order not to interfere or lap over the other, so you end up having the symphonic part or the rock part acting only as an accompanying part. In Deliverance, another good example for this topic, the guitars are shredding in the background, but you can't hear them because they are turned down a bit in order not the interfere with symphonic part which is the one her best in my opinion. In Nemo, the only time you hear the guitars are in the solo and the supporting riffs. What I'm trying to say is that you have to be really good or an just an artist to work this 2 part together in a natural way without relying on volume knob trick. Mixing for symphonic rock or metal bands must be quite a hard work to do.
![TARJA - I Feel Immortal [Instrumental]](http://i.ytimg.com/vi/G_UMEvVyJ2A/mqdefault.jpg)
![TARJA - I Feel Immortal [Instrumental]](/img/tr.png)
![TARJA - Falling Awake [Instrumental]](http://i.ytimg.com/vi/DOXG-hwLXfE/mqdefault.jpg)
From this filtered instrumental version you can see that Tarja's approach to music is way more personal and self-centered whilst being a well written track. On Dark Star, for example, you can Max Lilja's cello a lot more and also the guitars, so you come to appreciate more the structure of the song and the melodical line without vocals. You clearly can figure it out where the lyrics are supposed to be whilst understanding that guitar work isn't that complicated and works together with the all the other instruments. Sometimes I wish the guitars to punch a bit more and have their own pattern thus serving more than an accompanying part. Little lies is a song based on heavy riffs, but it is still linear. That's the biggest issue in symphonic rock or metal, to find the balance between instruments that can't go regularly together and harmonize, therefore you have one or the other being static or linear in order not to interfere or lap over the other, so you end up having the symphonic part or the rock part acting only as an accompanying part. In Deliverance, another good example for this topic, the guitars are shredding in the background, but you can't hear them because they are turned down a bit in order not the interfere with symphonic part which is the one her best in my opinion.
In Nemo, the only time you hear the guitars are in the solo and the supporting riffs. What I'm trying to say is that you have to be really good or an just an artist to work this 2 part together in a natural way without relying on volume knob trick.
Mixing for symphonic rock or metal bands must be quite a hard work to do.
Thank you!!!
thanks!
🥰😍🤩