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Could use some criticism between mixes
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View this Thread in Original format
| Kysora |
I reworked one of my tracks, Vaani, to try and fix a lot of the issues that were pointed out. I widened the stereo field, reduced the volume on a lot of the pads and changed around some stuff musically.
Could you guys let me know if this is a step in the right direction? If there are still any issues with the track feel free to rip it to shreds, I'm trying to get as close to a flawless mix as I can with this. Be as specific as you possibly can be, if you care to put in the effort.
Here's the original: http://soundcloud.com/kysora/kysora-vaani-original-mix
And the rework: http://soundcloud.com/kysora/kysora...inal-mix-rework
Thanks a ton, I appreciate it. |
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| Richard Butler |
Typing as I listen;
> Nice kcik - really thunking
> Early part - the rolling bass top sounds like a steam loco comming up the track - maybe filter it down a little until it's more masked when other elements join
> well pumping!
> warm and juicey mix to me. Possible slight conflict with kick and bass but I cant tell for sure - most notable early in track, but quite possible nothing to worry about
> 2.45 - slightly too much going on for my ears - but could be a taste thing - see what the consensus is
> Break - again my taste is to keep a sense of rthym going. It falls into sorta film score territory for me - others may love this though, so again see what the general consensus is
> Main chorus part - slightly late picky sound is dragging the tempo a bit - sort that - it may be the slap back echo of it? More noticiable if you turn one ear off centre.
> Overall it's a pretty impressive sound mate. Your'e on your way to big things |
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| Kysora |
| Thanks for the kind words guys. Sorry you don't like the breakdown Richard, I've always been partial to the film-score stuff. Definitely not for everyone but I quite like it |
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| Mad for Brad |
| one thing that particularly bothered me was the snare drum and the space it takes up. Usually, producers will double the snare with one that is rather dry so it cuts and one that is more as you have it right now very wide with ambience just a little lower so you get the upfront cut but also a bit of ambience. Like all your tracks i've heard so far, they are quite busy and you really need to decide on what element to focus when and where. RIght now, there are too many things at the same level fighting each other for space. The average listener can focus on 2 lines. Any more and it just overwhelms the listening and the end result has less impact. So decide what element is more important and mix accordingly. If you have one element that enters early, tuning it down when the other elements come won't take away that much as the listener has developed a sort of memory where even if the sound isn't there, in their minds , it still is. They use this technique in film with foley. The beginning og the scene might have lots of natural sound like bugs or ambient noise but once the tone is set, you can easily taper the sound source and it will still be playing in the listeners heard. The kick is extremely clicky and the overall mix is compressed to death. |
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| Kysora |
Christ, I just listened to the mix for the first time on Soundcloud, it completely destroyed the upper end clarity. Sounds absolutely awful, but whatever.
About the multiple elements playing, if you'd notice I turned down the beginning upwards arp very low while the plucky synth came in. I turned down the pluck once the main piano/string melody starts playing. The only time it's really busy is after the breakdown, is that where it's too much? I actually directly took your advice in this track, I was kind of hoping I wouldn't hear it again.
As far as it being "compressed as hell", what are the negative aspects of that? I honestly don't know. What's being lost when that happens? I don't think I use a lot of compression, I do EQ quite a bit to accentuate certain parts of the synths so parts play through more even when they're quiet, maybe that's doing something similar to what compression may do? I really don't know, I seriously have to figure out how to use compression to my advantage.
I also really love the idea for the snare, I've never thought to try that. I turned down the snare quite a bit but I guess it wasn't enough, I'm going to go ahead and try what you mentioned. Thanks. |
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| Mad for Brad |
| the kick sound rather clicky. Also you really should lower the hihats. They are almost as prominent as your lead. IT just seems like you've tried to fill every frequency range as much as you could and it sounds completely cluttered. |
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| Kysora |
| Hmm, alright, I'll see what I can do about it. Thanks. |
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| Kysora |
Hate to bump but I could use a bit more advice if anyone cares to give it.
Cheers. |
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| evo8 |
Have to agree with M4B that it sounds a bit too muddy, not enough space, my initial thought is thats its the bass sound that comes in at the 1 min mark but maybe not, the punch of the kick is getting a little bit masked after the 1 min mark
Its really hard to know, if i was sitting at your sequencer and could mute certain tracks then i could make a better judgement |
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| EddieZilker |
| I'll take a break in a bit to review some other people's work in MPP and yours, too. |
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| EddieZilker |
The mix is definitely better.
My main problem with it is that it's really loud on the high-end and the bass-line and kick are somewhat anemic in thump-factor (a problem I was having, recently).
I have to echo Richie's sentiments regarding a crowded mix but I'm wondering if some things can be moved back to give the track some atmosphere while maintaining the energy you seem to be working towards. Cutting the release on certain synths and looking at how your individual tracks are EQ'd in a complimentary fashion could go a long way to helping this track achieve your goals. You might also want to look at letting elements trade spaces with automation on panning, volume along with effects busing. You could even automate the release & decay on various synths to go for a bit of a tweak effect. |
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