James May 'Eliza Jane'

[Mixinthecloud]

#2

I think this is about ten posts all in one. Make the most of it doll

To me anyway, the mandolin during the introduction really sets the scene for the listener and readies us for the vocal performance. Why isn't it in the spotlight? I think this illustrates the problem with the mix as a whole, the subject of emotion. All the supporting instruments (too many for the task perhaps?) are devouring it's gentility - the luuuuv it's presenting.

I did a search on this JM stub for posts containing the word "emotion". Not one came up! I find this surprising, because all this song is about, is finding it, the emotion, the best way possible, and enhancing it with the tools at our disposal. There's loads of talk about instruments, and levels and compression, and all that nerdy stuff, but nowt on the very basic principles this concept is based.

My advice to you would be to get in touch with your feminine side, and go find it, the emotion, that is. I think your mix will be transformed and JM will have to employ you for ever more!

Watch out for the sustains, of which there's a lot here (obvious statement, sorry!), because they have a habit of masking. The Hammond gets suffocated on occasion, for example. Some might say that's a good thing

I find this a busy mix, with a lot of elements vying for my attention across the stage. Your intro rightly gave me a clue of what was to follow. Is the song over-represented instrumentally for the concept? Do you know how many things the brain can focus on in a song before it overloads and hits the Goodbye button? What instruments, and when, does this voice need to support it, that emotional delivery thing?

I'm, like, not always sure what you are wanting to give to me, and instead of deciding, you deliver everything? Is it supporting the melody, or is it providing it? Perhaps making some decisions with depth and level and being decisive with the mute button might help thin things out, or spotlight to support the lyric and emotional elements more. I heard things, but I didn't feel. I need to feel this concept, and I think the vocalist certainly wants me too.

I would personally add more presence and definitely a chunk of air to the vocal, it would help bring him forwards of the instruments (and do so without necessarily changing the level directly, depending on the outcome) as well as better define the lyric and help his diction. You'd need to fight the sibilance which will most likely come forth?

Being a long song, we have to work extra hard on retaining interest, which you are aware of. I think with more intensity in some places and less in others, you could make the resultant dynamic which subsequently flows, bring interest and help the emotional element too. Just a little too static for me and then I find myself wondering what to cook tonight.

And hey, you also need to fix the intersample peaks. Back your limiter off and give it more room perhaps. I'd also recommend fixing your room acoustics so you can dial in the bass elements and balance the rest of the mix off of this. I've quickly listened to a couple of previous mixes and they need help. If you can't hear it, you can't fix it and you'll be here forever doing the two-step. Do you think the kick works at 40Hz? According to my bookshelf rig, there isn't a kick. Many consumers won't hear it either so it isn't translating the way it should. I'll leave you with my thoughts, which I do hope you found constructive and informative? It's not an easy arrangement to fix, so please keep things in perspective.

Awesome thanks for the listen and for sharing it with us.

With all of your devotion to emotion with this song, it might be worthwhile pointing out that it might be just about smoking weed.