littledog

...or you could just explain it by the fact that some people are basically crabby.

Now I'm confused...

Sometimes you can run into a similar problem with snare tracks. On certain sections of the song, the drummer is using a side stick, and on other sections an open snare hit. You may find that the EQ, reverb settings, compression, etc. are completely different depending on whether it is a side stick section or an open snare part.

You could solve this by automating everything, but sometimes I find splitting the track into two seperate tracks is even easier.

I put all the side stick sections on snare track "a", and the open snare sections on snare track "b". Now it is very easy to set the volumes, EQ, compression, effects, etc. for the side stick without in any way affecting the open snare, and visa versa.

You could easily do the same thing in your situation. Cut all the choruses from the main vocal track and paste them onto their own "chorus only" track. Now you can deal with each section seperately and not have to worry about one affecting the other. It's a whole lot easier than trying to find a compression setting that will eliminate the differences between the sections.

But surely you wouldn't call it the WORST recording ever made, would you???

I heard "House of the Rising Sun" the other day in the car on an FM oldies station. For some reason, for the first time I noticed how awful the mix was. The loudest element was the organ. At a somewhat audible level behind you could hear the lead vox, cymbals, and bass - in that order. Barely audible was the rest of the drums. If there was any guitar at all, I couldn't hear it with the automobile engine on.

It's still a classic song, and at the time it came out, everyone loved it. But it's funny how I listen to thing differently since I've gotten into the production end of the business.

I wonder if the radio version I was hearing was some sort of disastrous remaster?