We're now in the mixing stage, two tracks with backing vocals finished. One of them, "Unity" is probably the more interesting one for bass players as it features two separately recorded bass tracks. Panned to the left you hear a 64 TB II Rev with D'Addario Chromes, panned to the right a fretless medium scale Gibson Super 400 one-off Phil Jones created Custom Shop acoustic bass guitar with a piezo bridge (passive, not active) and the E string tuned to D. Not sure whether we will keep that for most of the song very extreme TB left/Super 400 right panning for the endmix. But the Super 400 emulates a doublebass quite nicely, just listen to the three sliding notes at the end of the song.
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I listen to this stuff (and Summer's Gone is largely written by me and the singer, so there is no one else to blame) and wonder: "Uwe Hornung, you used to be a fearsome Heavy Metal player with a New Wave edge to your playing, what has become of you?"
This is probably the "poppiest" music I have ever made. That vocal intro (initially a backing vocal elevated to intro status by our producer who liked what he heard) sounds so AOR/Middle of the Road, even, yes, cheesy, it wouldn't be out of place on a Blackmore's Night album!!!
Who spots the In-a-gadda-da-vida riff I play for a few seconds at one point? My bandmates were dumbfounded, but then they didn't even know who Iron Butterfly was. Ah yes, the generational gap ... I expect you guys to do much better!!!!
