24-07-2014, 12:44 AM
(This post was last modified: 20-09-2014, 10:57 PM by The_Metallurgist.)
thanks for dropping in Chris, and indeed to all the other posts giving feedback, all right, all respected, all appreciated immensely....
what was your issue? you are aware it wasn't a DI but software, right? unfortunately the parameters weren't properly set up before the print which made things a bit troublesome for us. it lacks decent attack. and the decay? didn't have any! there's one point in the mix where i had to switch the processing off and resort to the original format, but it only lasted about 4 bars i think; i needed the sustain at that point. the devil is in the detail, as they say.
i sent too much bass down the middle to take some weight off the sides - nothing worse than a floor tom banging the left ear drum [in headphones] which novice mixes tend to do in excess, especially with 20 foot wide drum kits!! not pleasant. the treatment of the kit is the same in the intro as the rest of the proj, if i remember correctly. i think it probably sticks out more for you at this juncture because of the automation during the intro. but it's a good point. i'll take more care in future, thanks for that
it's mixed no differently here as elsewhere in the mix. sounds fine on a re-run of the print to me. if you listen to the mid channel, it's fine. and the sides are consistently behaving themselves, so i'm not sure what you're listening to here?
LOL, it's meant to be forward [in my vision]...it's in front of all the instruments but shares it's position in the mix with the nylon - both had a lead role. interesting that you understood the psychoacoustic messages but failed to accept them. how come?
i think the nylon is fine. there's no international standard on how a nylon should sound. given the vast array of designs, shapes, different woods used in construction, the diverse range of string brands of varying quality, string tensions/actions, string AGE, playing styles, mic placements, microphone choices, signal chains, pre-amps, room modes.....and what the audience hears isn't the same as the guitarist hears whilst playing the instrument, and what the mic hears isn't what ANYONE hears, eh? all microphones tell lies.
the tracking quality was far from ideal - i'm being politically polite so i don't offend anyone. the top end on the nylon was brittle and also bright for Tears....in the rain. i wanted mood, emotion. brightness is associated with emotions like excitement, joy, not tears. i wanted mellow. brightness gave the wrong emotion.
i personally think that anyone who mixes this material with a spectral balance towards bright has totally lost any reference to the song title and any sense of the kind of emotion the music is aiming to present.
i'd agree the steel sucks though, and Olli was right in his obs on that. i needed to spend some time shaping it back after hitting the top end. it needed a different EQ during the intro because of it's exposure and role at that point in the mix. this is one thing i'd feel motivated to tidy up especially if the bank transfer was imminent!
personally, the nylon wasn't part of the backing track but a lead instrument, sharing the role with the electric. the two steels performed a role within the rhythm section panned either side. but note one acoustic, the right one, was muted extensively owing to it's REALLY bad tracking quality. the nylon then, had the spotlight when the electric wasn't doing it's thang.
i think you were looking for oranges instead of apples
no, it's more complicated than that. pleased you liked it though...thanks for the acknowledgement and indeed thanks for taking the time to listen and give some feedback and observations. i must check out your own mix (done one?) and see what you've been up to, especially as you appeared to have preconceived expectations like placement for example. interesting....
laters...
Dave
(22-07-2014, 08:07 PM)Chris93 Wrote: The changes to the feel of the song you've created with automation are interesting and you solved the issue I wasn't able to with the bass DI.
what was your issue? you are aware it wasn't a DI but software, right? unfortunately the parameters weren't properly set up before the print which made things a bit troublesome for us. it lacks decent attack. and the decay? didn't have any! there's one point in the mix where i had to switch the processing off and resort to the original format, but it only lasted about 4 bars i think; i needed the sustain at that point. the devil is in the detail, as they say.
Quote:The toms at the start sound like completely separate entities from the rest of the drum kit. It sounds like maybe you had a drum bus and/or reverb that they weren't a part of.
i sent too much bass down the middle to take some weight off the sides - nothing worse than a floor tom banging the left ear drum [in headphones] which novice mixes tend to do in excess, especially with 20 foot wide drum kits!! not pleasant. the treatment of the kit is the same in the intro as the rest of the proj, if i remember correctly. i think it probably sticks out more for you at this juncture because of the automation during the intro. but it's a good point. i'll take more care in future, thanks for that
Quote:I do feel that the electric guitar sounds a bit separated from the rest of the mix around 0:50.....
it's mixed no differently here as elsewhere in the mix. sounds fine on a re-run of the print to me. if you listen to the mid channel, it's fine. and the sides are consistently behaving themselves, so i'm not sure what you're listening to here?
Quote:.....It's much further forward than everything else, maybe a short ambience reverb would help it? Maybe a bit less 1-2K?
LOL, it's meant to be forward [in my vision]...it's in front of all the instruments but shares it's position in the mix with the nylon - both had a lead role. interesting that you understood the psychoacoustic messages but failed to accept them. how come?
Quote:I'd agree on the boxiness of the nylon, one of the main things I like about that instrument is the percussive attack to the notes, but that's been diminished slightly.
i think the nylon is fine. there's no international standard on how a nylon should sound. given the vast array of designs, shapes, different woods used in construction, the diverse range of string brands of varying quality, string tensions/actions, string AGE, playing styles, mic placements, microphone choices, signal chains, pre-amps, room modes.....and what the audience hears isn't the same as the guitarist hears whilst playing the instrument, and what the mic hears isn't what ANYONE hears, eh? all microphones tell lies.
the tracking quality was far from ideal - i'm being politically polite so i don't offend anyone. the top end on the nylon was brittle and also bright for Tears....in the rain. i wanted mood, emotion. brightness is associated with emotions like excitement, joy, not tears. i wanted mellow. brightness gave the wrong emotion.
i personally think that anyone who mixes this material with a spectral balance towards bright has totally lost any reference to the song title and any sense of the kind of emotion the music is aiming to present.
i'd agree the steel sucks though, and Olli was right in his obs on that. i needed to spend some time shaping it back after hitting the top end. it needed a different EQ during the intro because of it's exposure and role at that point in the mix. this is one thing i'd feel motivated to tidy up especially if the bank transfer was imminent!
Quote:It could be a touch less loud, it again sounds like a separate thing on top of a backing track rather than as much a part of it, I do like how it sits against the electric though.
personally, the nylon wasn't part of the backing track but a lead instrument, sharing the role with the electric. the two steels performed a role within the rhythm section panned either side. but note one acoustic, the right one, was muted extensively owing to it's REALLY bad tracking quality. the nylon then, had the spotlight when the electric wasn't doing it's thang.
i think you were looking for oranges instead of apples
Quote:Does the nylon guitar have a reverb on it with the pre-delay set in time with the song? I like that.
no, it's more complicated than that. pleased you liked it though...thanks for the acknowledgement and indeed thanks for taking the time to listen and give some feedback and observations. i must check out your own mix (done one?) and see what you've been up to, especially as you appeared to have preconceived expectations like placement for example. interesting....
laters...
Dave
Beware...........Cognitive Dissonance!