EXTRA little things... "Mr. Weinstein Will See You Now (Patreon)

($5+ bonus tier patrons only)

the picture up top is a cover art outtake from designer andrew nelson...we decided it wasn't as strong as the one we chose (by the door).

AND....

below are some more photos from the hotel room photoshoot, photos taken by matt nicholson and coco karol.....who jumped in last minute and helped with the shoot, which was a godsend.

YOU'VE GOT TO BE KIDDING ME....

....and as an extra treat, here's an iphone demo from my voice memos...this is just me and jasmine and matt at the piano, in the very very early stages....


MP3: https://we.tl/AK5RxlVBES
WAV: https://we.tl/z6qR7uo2vO


and to give you a peak in the behind the scenes creation of the song itself and how i've been thinking about the audio, these are mix notes i gave to matt and taz, who mixed the song.

i never share stuff like this, but i thought it might be fun fer you guys to glimpse the way we go back and forth about the very very nitty-gritty of the tracks.

From: amanda palmer
Date: Tue, May 1, 2018 at 8:45 PM
Subject: Re: Mr Weinstein will see you now !
To: Taz Mattar
Cc: Matthew Nicholson 

this is SO MUCH CLOSER!!

yay yay yay. now we’re cooking.

i think we still need to pare things down about 20-30%. what is working when we pare down is realllllly working.

notes:

-i hear a really loud buzz, like something ungrounded, starting right at the top, it fade in around :02. what is that?

it gets swallowed up by the time the song kicks in, but it’s mighty distracting. fixable?

-matt: were you going to lay down the “elevator going up and opening” sample?

-i’d leave the strings OUT at the top. bring them in at verse two (:39). and keep the cello in there…but bring the level down a little.

-jasmine’s vocal could come up a bit (15%) at :47/48. leave it down after that.

- at the 1:08 section (“every door”) i’d bring the whole string/etc arrangement OUT. matt can fight for the cello, but the rest of the high strings, out out out.

-1:14 “you’re a very lucky girl”. matt, can you double this slightly dissonant melody of jasmine’s with something that won’t steal attention but will underline the melody? quiet glock? or is it too late to add that?

-2:10 - this a problem spot. the build up to this really leads to leave us satisfied, and the moment falls flat. i think maybe bring up the piano AND the vocals at 2:10 and create a little more of an artificial build leading up in whatever way you can so this section pops/is louder/makes more of a mark. matt: thoughts?? it’s mostly missing rhythm, which is why i’m missing the piano.

-2:36-2:55 - can we hear this section without the high strings?

-3:45, bring my vocal up (that “would” is getting swallowed or lost somehow)

-3:54-4 - “every version” thru the start of “open casket”…i would take the arrangement DOWN here, either by dropping out an element or taking the levels down, so that “open casket” really lifts

-3:58 “every time the penny drops”, matt, same question here about doubling jasmine’s vocal with something (glock, etc)

-4:43-4:59 - a HA!!! my “say it harvey” lyrics were actually EXTRA OVERDUBS. if you look at the session you’ll see an extra vocal there. go find them and add them in!!   

-4:59 - “black or blue” - really goose the piano and the vocals here, even if just for a moment. it’s that same problem we’re having at 2:10, though not nearly as bad. from the waveform itself i can see that we need to build to that, and we’re dropping down. maybe do some levels magic there. that section needs to peak a little more. it’s good, though! very very close.

-5:25 - last section - can you send me version that cuts down to just piano and vocals at the end and a version and one that keeps with the block, etc?

xxx
a

.......

love you, my loves.

xxx

AFP