28-01-2019, 12:53 PM
Hi APZX -- glad the feedback was useful!
Fair enough -- there's always going to be a lot of personal taste in this! I just thought that, as they were, they might make it difficult for you to brighten the mix as a whole enough.
Yeah -- I'm always a bit cagey of those kinds of widening patches for that reason. You might be able to improve things slightly by small increments to the delay time, or by filtering or phase-shifting the delay return.
A very sensible approach on the whole, I agree. I do something very similar myself a lot of the time. Sometimes, though, the bands don't really record the tracks in a way that indicates how they want the final mix to sound, which I think is partially the case here.
For me this is one of the things that takes most work on any mix, and in this particular case there were technical issues with the capture that complicated it further. Not an easy one, by any means.
It's so easy to get tangled up with words when trying to write about this stuff!
I know what you mean -- it's such a fine line to tread. These days, though, because so few productions actually have a dedicated 'producer', most mix jobs I encounter seem to demand the odd arrangement tweak (if only muting a few things) to get the best out of the music.
Mike S.
(28-01-2019, 04:12 AM)APZX Wrote: Though I do have to disagree about the claps needing rounding off. Personally, I love the contrast they bring to the end of the track. They lift up that last section very nicely. The trick I think is figuring out how to add them in such that they don't interfere with what is already there.
Fair enough -- there's always going to be a lot of personal taste in this! I just thought that, as they were, they might make it difficult for you to brighten the mix as a whole enough.
(28-01-2019, 04:12 AM)APZX Wrote: First, the rhythm guitar wasn't because it was panned, though they are panned now. In fact I used ADT to make it wider with a 10ms delay. Apparently, that doesn't collapse well to mono haha.
Yeah -- I'm always a bit cagey of those kinds of widening patches for that reason. You might be able to improve things slightly by small increments to the delay time, or by filtering or phase-shifting the delay return.
(28-01-2019, 04:12 AM)APZX Wrote: I get that the intention was to make the mix something rather different than what I did, but I'm not going to lie the multis didn't tell me that. And that is how I approach a mix, I listen to the multis and go from there more often than not.
A very sensible approach on the whole, I agree. I do something very similar myself a lot of the time. Sometimes, though, the bands don't really record the tracks in a way that indicates how they want the final mix to sound, which I think is partially the case here.
(28-01-2019, 04:12 AM)APZX Wrote: I kind of want to avoid just straight leveling the vocal. I want to keep it almost intimate in nature. That will probably still be something I continue to edit.
For me this is one of the things that takes most work on any mix, and in this particular case there were technical issues with the capture that complicated it further. Not an easy one, by any means.
(28-01-2019, 04:12 AM)APZX Wrote: In fact in general for the drums as a whole I really got in there and moved them around quite a bit in the track to better track what was going in the track (that sentence just sounds odd lol).
It's so easy to get tangled up with words when trying to write about this stuff!
(28-01-2019, 04:12 AM)APZX Wrote: I often don't feel comfortable shifting things around in a track that I did not originally compose nor help produce. I'm not saying it is right or wrong, just what it is.
I know what you mean -- it's such a fine line to tread. These days, though, because so few productions actually have a dedicated 'producer', most mix jobs I encounter seem to demand the odd arrangement tweak (if only muting a few things) to get the best out of the music.
Mike S.