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Still Flying! Just did a course so tell me if its any good
#11
sorry mate, I didn't wrote it down and a screenshot of the project window wont help you much Undecided
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#12
(09-12-2016, 11:41 PM)Blitzzz Wrote: Well, sounds good, but it's not true. Not true at all. Just hit the usual forums whenever a new album of a famous band is released and see people go crazy when stuff doesn't sound like it should sound. Saint Anger anyone? Death Magnetic? Opeth?

And regarding the comfort zone: Do not think that you are innovative because you choose to use a sample/sound that normally won't be used for this genre. If you do this because you can't get the snare to sound like it should sound you take the easy way out - and therefore stay in your own comfort zone instead of learning how to get THAT sound Smile

I remember back in the day... When the first distortion sound came into being.. People hated rock music. It was cataloged like a devilish music.. Now even pop songs have distort guitars. If everyone kept doing the same thing.. None of the genres we know now would exist. It was because there was someone willing to risk a sound that we now have al that we have. That's my point.. Not necesarily go and put a jazz snare in a metal song. Smile

As for the innovative part.. I genuinly believe music as complex as it is today.. Is really hard to come up with something inovative. I believe at this point anything anyone comes up with is just gonna 32nd up being similar to something someone around the world already created. Same goes for mixing. For example if you read the art of mixing book... The author explains how back in the day there were specific "ways" to mix. That style of mix even had a name... That was back in the 80s give or take. Right now there is no such thing because everything is so complex that it would be pointless to give it a name.

I would say right now artists look for people who can get the job done like they want it to be. More or less now with the "in the box" mix.. Everyone is mixing their own stuff. The glory days of professional studios are dying. The Home Studio is the new revolution. Still though.. Xlr cables for live sound are app old school.. I wish more optical cable inovations would be possible in live sound. Less delay .. And less cabling. Someone should invest into research like that lol. I wish I was super rich to do that. Also a wireless p.a. with the fidelity of a wired one. That would be really cool too. We are not there yet but we will.
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#13
(10-12-2016, 01:05 AM)Blitzzz Wrote: sorry mate, I didn't wrote it down and a screenshot of the project window wont help you much Undecided
No worries. I figured it out.
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#14
For a mix that's supposed to be "organic" it really is harsh (those presence frequencies are just ear splitting) and brittle. As Blitzzz already mentioned the lead guitars are way off where they're supposed to be in the song and makes your mix sound strange. Take your time, this is a pretty challenging mix and one that requires you to listen to the reference mix pretty religiously as that is sound the band is going for (also take a listen to Marigold by Periphery if you want another track in the genre to go by).

About dynamics: limiting really isn't going to harm the dynamics of the guitars in this (lets face it saturated electric guitars aren't really dynamic in a conventional sense), it will actually allow you to keep the guitars consistent level wise and move the level of them throughout the course of the track. In order to hear the bass clearly through the track, it's going to need some heavy compression to get those notes to sing and give you a solid foundation with your kick.

About "breaking the mold", there is something to be said for originality and doing something interesting in a mix to take it away from the "norm", in this case going for a more organic sound, going for it is fine however it means you really need to make it impressive sounding and take the time to perfect the sound you're going for. In your case I'd go back and find where that presence spike is (sounds to me it's in the cymbals at the 3-5 kHz range) and fix it with some Eq, fix the placement of the growled vocals and lead guitars, lower the kick in the mix a touch, center pan the soft vocal during the bridge, and fix the distortion and panning on the overdubbed vocals so they aren't as disjointed from the mix.

I really thing you have some good ideas when in comes to what you want to do with the track, at this point they really aren't coming together and ultimately working against you.

Cheers and hope this helps,
Doug
Mixing is way more art and soul than science. We don’t really know what we’re doing. We do it because we love music! It’s the love of music first. Eddie Kramer

Gear list: Focusrite Scarlett 18i20, Mbox Mini w/Pro Tools Express, Reaper, Various plugins, AKG K240 MKii, Audio Technica ATH M50x, Yorkville YSM 6
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