I'd Rather Be Drinkin' My take on it.

[keymotive]

I went for more of a dry mix on this one. Let me know what you think!

Edited: Took down the guitar a little bit.

[MMT93]

I think that you've tried to add width to the guitar by duplicating it, opposition panning it to the original and adding a slight time delay.

If I'm incorrect, please forgive me. However, whichever technique you've used to double up the lead guitar is a little too noticeable/distracting for my liking in this mix. I understand that this is a wholly artistic decision on your behalf and nothing more than an opinion on mine, however I personally find that effect far too perceptible and jarring to the settlement of the rest of the track. I keep noticing it and thus it's distracting my attention from the overall mix.

I personally would have reduced the delay between the duplicate and the original guitar to lessen the perceptibility of this effect. I understand that using time-delay for the purpose of enhancing stereo width can get quite tricky in regards to phase relationships, but if this is a technique you're fond to keep in the mix, I would tweak those settings ever so slightly just to make their tone a little less jarring in contrast to the rest of the instruments in the mix.

The reason I think that I'm finding this effect so unsettling may also be because the guitars are pushed quite far forward in the mix. You could maybe try adjusting the level of the guitars and that may help them sit a little better.

Another trick you could use is something that I first spotted on a Van Halen track. "Mix methods borrowed from Van Halen and applied to Country Blues?" I hear nobody ask.

On "Panama" by Van Halen, you can clearly hear in the introduction that the dryish guitar is panned hard left, whilst the 100% wet effects are hard right. Maybe try putting your dry guitar over to one side of the stereo image and then adding 100% wet reverb or delay or another spacial/time-based effect to the opposite side. It could work wonders! Worth it for experiment's sake alone.

For what it's worth, the guitars and effects on Panama stay panned this way for the entire track. They don't jump back to centre to reinforce the mix or move around whatsoever in the track, they're completely static. If something as simple as this works for Van Halen and Ted Templeman, it works for me!

Your overall balance throughout the rest of the track is great. Maybe push those toms and snare a little more and slightly back off the low end and level on the bass guitar.

Good work, looking forward to hearing more!

[keymotive]

I think that you've tried to add width to the guitar by duplicating it, opposition panning it to the original and adding a slight time delay.

If I'm incorrect, please forgive me. However, whichever technique you've used to double up the lead guitar is a little too noticeable/distracting for my liking in this mix. I understand that this is a wholly artistic decision on your behalf and nothing more than an opinion on mine, however I personally find that effect far too perceptible and jarring to the settlement of the rest of the track. I keep noticing it and thus it's distracting my attention from the overall mix.

I personally would have reduced the delay between the duplicate and the original guitar to lessen the perceptibility of this effect. I understand that using time-delay for the purpose of enhancing stereo width can get quite tricky in regards to phase relationships, but if this is a technique you're fond to keep in the mix, I would tweak those settings ever so slightly just to make their tone a little less jarring in contrast to the rest of the instruments in the mix.

The reason I think that I'm finding this effect so unsettling may also be because the guitars are pushed quite far forward in the mix. You could maybe try adjusting the level of the guitars and that may help them sit a little better.

Another trick you could use is something that I first spotted on a Van Halen track. "Mix methods borrowed from Van Halen and applied to Country Blues?" I hear nobody ask.

On "Panama" by Van Halen, you can clearly hear in the introduction that the dryish guitar is panned hard left, whilst the 100% wet effects are hard right. Maybe try putting your dry guitar over to one side of the stereo image and then adding 100% wet reverb or delay or another spacial/time-based effect to the opposite side. It could work wonders! Worth it for experiment's sake alone.

For what it's worth, the guitars and effects on Panama stay panned this way for the entire track. They don't jump back to centre to reinforce the mix or move around whatsoever in the track, they're completely static. If something as simple as this works for Van Halen and Ted Templeman, it works for me!

Your overall balance throughout the rest of the track is great. Maybe push those toms and snare a little more and slightly back off the low end and level on the bass guitar.

Good work, looking forward to hearing more!

Thanks! I did add a Waves Doubler on the guitar, after I did the mixdown I realized it was a bit prominent. It wasn't too important to me though, this is just practice. Thanks for the feedback though!