21-08-2012, 08:26 PM
I see, KMNX8RS,
that you already know what a "that doesn't yet work how I wanted it to" moment is
I created a Reaper project from the multitracks to understand what you have been working on, and I loaded and time-/volume-adjusted the existing mixes into the same project, to be able to compare them. What I found was that I did not have to time-adjust your mix, but turn up the volume by roughly 10 dB to bring it to equal loudness with the other mixes. I was surprised to find that, when left alone, it nevertheless peaks at -0.6 dB. I found a single kick to accomplish that, sticking out at 3:02. I'd say it is very unlikely that you left it there on purpose. I'm not suggesting that drums must be compressed, but if you don't compress (or limit) them, automating out such peaks would gain you a handful dB of additional level overall.
I also saw that you use the "SCRATCH" tracks. As I said above, I think that in art, nothing is wrong per se. Using scratch tracks makes me think again, though. I mean, somebody seems to have decided earlier in the process to not use these tracks. Using them means to override this explicit decision. On the other hand, no one knows what exactly that person meant by "scratch", and why he or she kept the tracks anyway. So it is probably ok to use them.
In any case, the use of the scratch tracks has some impact. For example, the scratch acoustic guitar plays an arpeggio too early at 3:45. By way of its interplay with the other acoustic guitars, that contributes to what I hear as "falling apart" (or "becoming loose", if you will) -- together with the extra guitar strum at 3:57. The scratch background vocal is most obvious at 2:04, where it sounds like an 'out-of-tune delay'. In my ears, that translates into insecurity (as in "I am not really sure when to sing this note") and contributes to the looseness (as in "we're not on the same beat").
I'm not saying that any of that is wrong. It sounds weird at first, though, and may benefit from some refinement. For example, you can pan or eq the scratch voices away from their legitimate counterparts and soften the contention between them. I also would not object blending the acoustic guitars into the piano.
Regarding Fletcher-Munson, I believe the textbook advice is to mix at low levels but turn the volume up for very short periods. I never considered anything different, because my ears are already damaged enough, but you seem to confirm the wisdom of this approach
By the way, you are not under attack, you don't have to "defend" yourself for or against anything. Wait, for one thing maybe
Forcing yourself to mix fast... why the heck do you do that?!
Keep enjoying yourself
Marc
that you already know what a "that doesn't yet work how I wanted it to" moment is
I created a Reaper project from the multitracks to understand what you have been working on, and I loaded and time-/volume-adjusted the existing mixes into the same project, to be able to compare them. What I found was that I did not have to time-adjust your mix, but turn up the volume by roughly 10 dB to bring it to equal loudness with the other mixes. I was surprised to find that, when left alone, it nevertheless peaks at -0.6 dB. I found a single kick to accomplish that, sticking out at 3:02. I'd say it is very unlikely that you left it there on purpose. I'm not suggesting that drums must be compressed, but if you don't compress (or limit) them, automating out such peaks would gain you a handful dB of additional level overall.
I also saw that you use the "SCRATCH" tracks. As I said above, I think that in art, nothing is wrong per se. Using scratch tracks makes me think again, though. I mean, somebody seems to have decided earlier in the process to not use these tracks. Using them means to override this explicit decision. On the other hand, no one knows what exactly that person meant by "scratch", and why he or she kept the tracks anyway. So it is probably ok to use them.
In any case, the use of the scratch tracks has some impact. For example, the scratch acoustic guitar plays an arpeggio too early at 3:45. By way of its interplay with the other acoustic guitars, that contributes to what I hear as "falling apart" (or "becoming loose", if you will) -- together with the extra guitar strum at 3:57. The scratch background vocal is most obvious at 2:04, where it sounds like an 'out-of-tune delay'. In my ears, that translates into insecurity (as in "I am not really sure when to sing this note") and contributes to the looseness (as in "we're not on the same beat").
I'm not saying that any of that is wrong. It sounds weird at first, though, and may benefit from some refinement. For example, you can pan or eq the scratch voices away from their legitimate counterparts and soften the contention between them. I also would not object blending the acoustic guitars into the piano.
Regarding Fletcher-Munson, I believe the textbook advice is to mix at low levels but turn the volume up for very short periods. I never considered anything different, because my ears are already damaged enough, but you seem to confirm the wisdom of this approach
By the way, you are not under attack, you don't have to "defend" yourself for or against anything. Wait, for one thing maybe
Forcing yourself to mix fast... why the heck do you do that?!Keep enjoying yourself
Marc