04-05-2015, 11:29 AM
(This post was last modified: 04-05-2015, 07:09 PM by The_Metallurgist.)
Yo,
I think there's way too much treble here (both v1 and v2), i'm feeling fatigue off the HF zone....like you have an abundance around the 10kHz and that last octave right up to the Nyquist frequency; did you high cut this? I think your drums are the major source, but i'm hearing stuff on some of the synths too. What worries me, is that you have gone back into the mix and you've missed this issue. I'm wondering what's preventing you from hearing it.....any ideas?
This composer uses far too much treble in his tracking for my liking (I say this with some respect), and if you are not careful, it will quickly throw your perspectives of spectral balance out the window, along with your ears for the rest of the mix. Just sweeping for a resonance with any amount of gain is enough to throw a lot of people off the scent (me included, so i'll apply a cut instead while sweeping), so I can imagine the mischief trebles of this guy's magnitude can get up to. Perhaps this has prevailed herein? Can you shed some light on it? When confronted with a rich treble, i'll quickly bang a generous amount of high-cut filter until I can get to it in the mix proper. I have used ear plugs before now while previewing the raw goods at the time of setting up a project in the DAW. I've extensively remixed Resurrection so i speak with experience of the problem and challenges!
At the other end of the spectrum, I think the bass synth is nailing the headroom here, and it's taken all the space which I think should contain a lot more of the song's melodic content. Perhaps adding some even-harmonic distortion (odd harmonics are brittle, eh?) and working these will help take some of the fat out of it but still keep it's contribution in the mix. Furthermore, i'd suggest it will give you valuable space for the kick's fundamental, which i'm missing.....there's no weight here at all, but I am getting the kick's harmonics. Perhaps it's the harmonics you are hearing when you mix it, and this is doing some psychoacoustic shenanigans leading your brain to believe the fundamental is present?
I also felt the song was “flat” in the sense that it wasn't offering any musical dynamic at all (promotes boredom and hitting the skip button), other than the intro and outro. This made it difficult for me to stay in touch with the material (not helped by the fatigue from the highs and the heavy low bass synth which was overpowering). Perhaps look for some ways to change this, vary it somehow to get some synergy going here. This is a long mix at 5:20 so it needs working. If a song just rants along without any changes, why listen? This also brings me to the drums. While the treble from them is wearing after a short while, I think your vision of having them “hit” and punchy is great. But if you keep it great all the time, i'm going to think that great is simply more of the same....and lose interest. Perhaps bringing them in more present (when it's pertinent), then dropping them back will help keep me interested and engaged as a listener. Working the synths around this idea will change the delivery of the mix for the better, at least from my perspective.
I was pleased you kept the bass out of the side channel. I also liked the fact that this wasn't “loud”.
Previewed over a bookshelf rig, nothing special, at a level just above conversation.
Hope there's something here which helps dude....
Dave
I think there's way too much treble here (both v1 and v2), i'm feeling fatigue off the HF zone....like you have an abundance around the 10kHz and that last octave right up to the Nyquist frequency; did you high cut this? I think your drums are the major source, but i'm hearing stuff on some of the synths too. What worries me, is that you have gone back into the mix and you've missed this issue. I'm wondering what's preventing you from hearing it.....any ideas?
This composer uses far too much treble in his tracking for my liking (I say this with some respect), and if you are not careful, it will quickly throw your perspectives of spectral balance out the window, along with your ears for the rest of the mix. Just sweeping for a resonance with any amount of gain is enough to throw a lot of people off the scent (me included, so i'll apply a cut instead while sweeping), so I can imagine the mischief trebles of this guy's magnitude can get up to. Perhaps this has prevailed herein? Can you shed some light on it? When confronted with a rich treble, i'll quickly bang a generous amount of high-cut filter until I can get to it in the mix proper. I have used ear plugs before now while previewing the raw goods at the time of setting up a project in the DAW. I've extensively remixed Resurrection so i speak with experience of the problem and challenges!
At the other end of the spectrum, I think the bass synth is nailing the headroom here, and it's taken all the space which I think should contain a lot more of the song's melodic content. Perhaps adding some even-harmonic distortion (odd harmonics are brittle, eh?) and working these will help take some of the fat out of it but still keep it's contribution in the mix. Furthermore, i'd suggest it will give you valuable space for the kick's fundamental, which i'm missing.....there's no weight here at all, but I am getting the kick's harmonics. Perhaps it's the harmonics you are hearing when you mix it, and this is doing some psychoacoustic shenanigans leading your brain to believe the fundamental is present?
I also felt the song was “flat” in the sense that it wasn't offering any musical dynamic at all (promotes boredom and hitting the skip button), other than the intro and outro. This made it difficult for me to stay in touch with the material (not helped by the fatigue from the highs and the heavy low bass synth which was overpowering). Perhaps look for some ways to change this, vary it somehow to get some synergy going here. This is a long mix at 5:20 so it needs working. If a song just rants along without any changes, why listen? This also brings me to the drums. While the treble from them is wearing after a short while, I think your vision of having them “hit” and punchy is great. But if you keep it great all the time, i'm going to think that great is simply more of the same....and lose interest. Perhaps bringing them in more present (when it's pertinent), then dropping them back will help keep me interested and engaged as a listener. Working the synths around this idea will change the delivery of the mix for the better, at least from my perspective.
I was pleased you kept the bass out of the side channel. I also liked the fact that this wasn't “loud”.
Previewed over a bookshelf rig, nothing special, at a level just above conversation.
Hope there's something here which helps dude....
Dave
Beware...........Cognitive Dissonance!