every time he avoids kyoperatic inserts it is guaranteed to sound decent, I’m glad none of their recent singles have that tbh
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The World of Mercy outro has it, but I don’t mind how it sounds there. What I do mind is that it’s only there because Vinushka has it too.
“Also who’s bright idea was it to put the hi-hats on the right and the ride cymbal on the left? Who mixed this?”
It’s called drummer’s perspective [I meant audience], and plenty of albums in all genres are done like this. Sometimes the hi-hat is still in the center, since there’s often a spot-mic on the hats, otherwise it’s panned to be as if you’re watching the band perform on-stage. You can also hear the low-tuned toms on the left and the higher tuned toms on the right, for the same reason.
Lot’s of records are mixed like this. At least a few Coheed & Cambria records are (both Good Apollo records I know are), almost every album Taylor Larson has mixed is this way.
Even a lot of past Diru is mixed this way. It’s a little less apparent on older records because things weren’t as wide, but even Gauze has stuff mixed drummer’s perspective, put on headphones and pay attention to the drums in Yurameki, you’ll hear the hats pretty solidly panned to the right ear and the ride just as solidly in the left ear. It’s not a new thing at all.
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I dont wanna be rude or edgy but, found oboro pretty boring, the song by itself its good, there’s nothing wrong with, but theres nothing new tho. Ive been a fan for years but since tiw everything its the same, they’re stuck in that particular “style” since then.
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Okey, here’s my thoughts… I hope I am not the only one thinking about this when listening to their most recent songs. It’s more obvious that Kyo uses second/background vocals to fill the lead vocals up to become more bolder. Am I the only one trying to focus on hearing each vocals separately? I really want to hear the lower and upper vocal tracks separately, especially in Oboro. I am interesting in the structure of their songs and for each new song I’m focusing on each instrument separately. For example in The World of Mercy I lay way to much focus on the drums because it had a pretty interesting structure.
Oboro doesn’t really sound anything like TIW except maybe Ranunculus.
If things sound similar in terms of production/mixing, that’s because this is the sound they’ve chosen for this era. It’s like saying that everything released around VULGAR is the same, or everything in the DSS era is the same.
When CLEVER SLEAZOID was released, it was like one of the harsher songs off Withering (the single was even released the same year as that album).
Remember that for better or worse, DEG typically likes to re-record their singles for the album. I’m sure Oboro will be a little different there.
I will say that I do agree that the song, while good, isn’t particularly exciting. It’s a bog-standard obvious ‘single’ just like LOTUS was.
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Dude xD
Idk, I think Lotus is actually a far more exciting song, it’s one of my favorites off of DSS lol
But I do see the point you’re making. It’s a decent song, and it’s growing on me, but it’s certainly a “safe” release.
Lotus is great. I love the syncopated rhythm.
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Wouldn’t this be audience perspective? Drummer’s perspective would have hi-hats left and ride to the right (unless the drummer is a lefty).
Regardless I know it’s not uncommon, but when it’s hard panned like in TDFF it throws me off.
@Saishu I’m sorry you are correct, I meant audience perspective. I was distracted by a few other things while writing my original reply.
I can understand it. I feel like that hard panning isn’t too jarring for me at least. I listen to a fair number of live albums that go pretty hard with the panning, and I think the way it’s done in TDFF helps give me that sort of vibe.
I also just like my drums big, and will go for a wider-than-real-life approach to the toms with a good deal of my own work (though not so much the hats).