23-11-2016, 09:58 PM
I've listened to version three, and it'S very focused-sounding, but I'd say a little too heavy on the lower midrange, which makes it sound a bit tubby. Even if you cut a bit of this with master EQ, however, the lead vocal continues to make the low mids sound clouded, so I'd maybe reevaluate the EQ choices there as well. It just seems a shame that Diesel seems veiled by comparison with the slightly punky guitar sounds (which I like, and which blend nicely with the banjo in particular). In this context, majoring on the kick drum's sub-100Hz frequencies unfortunately exacerbates the slightly boxy feeling, but I reckon that wouldn't be too tricky to redress with a bit of cut on the kick, making way for some enhancement of the bass guitar's fundamentals perhaps.
By the same token, the comparatively narrow stereo image you've chosen for the main riff and verses also contributes to the sense of constriction. I can see the thinking here though, as the way wide-panned clean guitars in the Mid-sections then dramatically open out the picture for those sections is a nice bit of structural reinforcement. However, I think you could do more to suggest that the mix is still full width elsewhere, even if you don't pan sounds obviously to the extremes: wide stereo ambiences, perhaps, or a bit of panned delay slapback -- even stereo background noise might do it!
Those more 'big-picture' issues notwithstanding, in general I like the balances you've chosen in this mix. It's a bit of a rockier vision than some, but the acoustic aspects still make their presence felt, and you can hear lots of detail in there, which is a good thing when there's so much tasteful musicianship in Joe's playing. The snare ambience is very thick, and might be out of place in a more acoustic mix, but here I like the way it fits in with the compression and lends that specific drum extra stature. The toms blend pretty well too. Finally, I like the way you slot the backing vocals in, but they could probably use a touch of de-essing, as the consonants seem a little out of balance with the body of the sound.
Thanks for another eminently rocky version, and I hope the comments are some help!
By the same token, the comparatively narrow stereo image you've chosen for the main riff and verses also contributes to the sense of constriction. I can see the thinking here though, as the way wide-panned clean guitars in the Mid-sections then dramatically open out the picture for those sections is a nice bit of structural reinforcement. However, I think you could do more to suggest that the mix is still full width elsewhere, even if you don't pan sounds obviously to the extremes: wide stereo ambiences, perhaps, or a bit of panned delay slapback -- even stereo background noise might do it!
Those more 'big-picture' issues notwithstanding, in general I like the balances you've chosen in this mix. It's a bit of a rockier vision than some, but the acoustic aspects still make their presence felt, and you can hear lots of detail in there, which is a good thing when there's so much tasteful musicianship in Joe's playing. The snare ambience is very thick, and might be out of place in a more acoustic mix, but here I like the way it fits in with the compression and lends that specific drum extra stature. The toms blend pretty well too. Finally, I like the way you slot the backing vocals in, but they could probably use a touch of de-essing, as the consonants seem a little out of balance with the body of the sound.
Thanks for another eminently rocky version, and I hope the comments are some help!