25-05-2018, 12:38 PM
Thanks for dropping by my thread, returning the listen herewith. I think I still owe you so here's a two-in-one plus extras.
The sticking point in your record is above 1kHz; there's so much that it's difficult to listen and critique. The tracks were pretty hazardous in their spectral generosity which can lead to fatigue and loss of perspective; I hope it's nothing more ominous.
To respect audio quality, set your brick wall to -1 and not 0.0dBFS otherwise you force the lossy codec into distortion which makes unpleasant listening for those with good ears and gear but benefits those who don't.
The abundant and busy stock contributes to fatigue. The point at 3m is a case. I sense you had a good go at it, but the only solution I found was to cut it out entirely for the benefit of the song and the listener. Commercially, that's a phone call first!
I think finding some contrast between verse and chorus (not just amplitude or pushing into the limiter) would help engagement. The verses seem to blend and transition into the choruses in a nonchalant,almost unnoticeable manner. We have lots of choices here but leaving as-is would be unwise.
Perception of space is confused by the lushness of the strings and their generous and bright long decay, v the congas with their early reflections, for example, so some ambiance clashes to resolve.
Some odd things happen in the mono downmix. However, the vocal appears to hold up well, despite it's rich early reflections in the tracking, and folds without him appearing to perform in a tight space; I personally found this quite difficult to do.
Don't under estimate the hi hat in any dance related genre. You need to make some space for it though (nothing should be masking it this far up in the spectrum). I found that gating out the snare from it's track helped greatly with deployment. Automate it too; fader down for the verse, fader up for the chorus.
This should keep you busy and out of mischief on the next rainy day or so. Over to you
The sticking point in your record is above 1kHz; there's so much that it's difficult to listen and critique. The tracks were pretty hazardous in their spectral generosity which can lead to fatigue and loss of perspective; I hope it's nothing more ominous.
To respect audio quality, set your brick wall to -1 and not 0.0dBFS otherwise you force the lossy codec into distortion which makes unpleasant listening for those with good ears and gear but benefits those who don't.
The abundant and busy stock contributes to fatigue. The point at 3m is a case. I sense you had a good go at it, but the only solution I found was to cut it out entirely for the benefit of the song and the listener. Commercially, that's a phone call first!
I think finding some contrast between verse and chorus (not just amplitude or pushing into the limiter) would help engagement. The verses seem to blend and transition into the choruses in a nonchalant,almost unnoticeable manner. We have lots of choices here but leaving as-is would be unwise.
Perception of space is confused by the lushness of the strings and their generous and bright long decay, v the congas with their early reflections, for example, so some ambiance clashes to resolve.
Some odd things happen in the mono downmix. However, the vocal appears to hold up well, despite it's rich early reflections in the tracking, and folds without him appearing to perform in a tight space; I personally found this quite difficult to do.
Don't under estimate the hi hat in any dance related genre. You need to make some space for it though (nothing should be masking it this far up in the spectrum). I found that gating out the snare from it's track helped greatly with deployment. Automate it too; fader down for the verse, fader up for the chorus.
This should keep you busy and out of mischief on the next rainy day or so. Over to you
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