Wess Meets West: '64 Bristol'

[javierpg84]

Wess Meets West: '64 Bristol'

[dcp10200]

You forgot to attach the mix.

[javierpg84]

Check it now. I was re-bouncing it.
Cheers

[dcp10200]

The mix is quite well balanced and has a warm sound too it, good work there. The one thing that I did notice about your mix here is that during the bigger moments it never really seems that big, there's no real moment of an explosion of sound, it's like riding a roller coaster that only climbs.

From 0:52 there's a really nice sounding build but when it reaches the apex at 1:30, it just seems to stay at that one dynamic, not so much volume wise as texurally. When I mixed this track I found that adding in a distorted drum track and blending it in alittle louder than the default drum mix and driving the mix abit harder into my saturation and compression on the mix buss helped change up the the climaxes of the track and make them seem more extreme and drastic. Adding some reverb to those tremelo picked guitar and adding the other track of that on the right side would also help push those moments out more as well. If you want to hear what I was talking about, here's my mix: http://discussion.cambridge-mt.com/showt...?tid=15418

On a more technical note, the kick and bass seem to be fighting a touch. The bass is quite round sounding and full in the lows and the kick doesn't have much attack to it, more of a "pillow kick" sound. It makes the low end a touch loose and undefined rather than punchy and tight, I would either make the kick more aggressive with a more beater heavy sound or use a distortion and shave 80 Hz and below with a highpass filter on the bass. For those bass "solo" moments like in the beginning of the track or to make it stand out in the mix abit, a chorus effect blended into the bass can be quite effective as well.

Apart from those hiccups, you've got a good sounding mix Javier!

Cheers,
Dcp

[javierpg84]

[quote='dcp10200' pid='51759' dateline='1476488881']
The mix is quite well balanced and has a warm sound too it, good work there. The one thing that I did notice about your mix here is that during the bigger moments it never really seems that big, there's no real moment of an explosion of sound, it's like riding a roller coaster that only climbs.

Thank you for the input dcp10200. How do you achieve the bigeness and intensity climax in your mixes? I have been struggling with that part long time ago. Thx

[dcp10200]

Thank you for the input dcp10200. How do you achieve the bigeness and intensity climax in your mixes? I have been struggling with that part long time ago. Thx

It really is all about arrangement, a build to a climax really should add a tention to the sound of the music. In this track, the build to the "chorus" starts out pretty empty and gradually starts adding more and more layers to the repeating guitars untill it breaks into the choir vocals and heavy drum rhythm. The trick with this set of multis is that there's alot of guitar tracks playing the same thing but with different tones, really you need to sit down and weed out what tracks work the best for your mix and figure out what goes where. Myself I eliminated 18 tracks of guitars (if you don't include multi mic'ed tracks it's really 15), this allowed me abit more control over what was going on and left some room to add some emptiness to the arrangement.

Like I said, the main way to exaggerate builds is finding ways of creating some form of tension in the arrangement, in this case empty space and near silence is your best friend.

Cheers, and hope this helps,
Dcp

[javierpg84]

Thank you for the input dcp10200. How do you achieve the bigeness and intensity climax in your mixes? I have been struggling with that part long time ago. Thx

It really is all about arrangement, a build to a climax really should add a tention to the sound of the music. In this track, the build to the "chorus" starts out pretty empty and gradually starts adding more and more layers to the repeating guitars untill it breaks into the choir vocals and heavy drum rhythm. The trick with this set of multis is that there's alot of guitar tracks playing the same thing but with different tones, really you need to sit down and weed out what tracks work the best for your mix and figure out what goes where. Myself I eliminated 18 tracks of guitars (if you don't include multi mic'ed tracks it's really 15), this allowed me abit more control over what was going on and left some room to add some emptiness to the arrangement.

Like I said, the main way to exaggerate builds is finding ways of creating some form of tension in the arrangement, in this case empty space and near silence is your best friend.

Cheers, and hope this helps,
Dcp

Yo said it right Dcp. Thank you for the input. I love when people share info and knowledge. Take care and let,s keep in touch