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Carol Dant's 'Do Not Stand' (EquilibriumMIX)
#1
It all depends on our imagination and sense of proportion ...Big Grin In any case, the mix turned out as it is. Big Grin
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.mp3    Carol Dant\'s \'Do Not Stand\'.mp3 --  (Download: 7.87 MB)


Alexander
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#2
Hi Alexander. Some cool moves and edits here which I liked as well as some interesting tones and textures which worked pretty well with your concept. The abrupt intro felt a little too abrupt, even for me. A build would help introduce the ear to what is to come.

I loved the stops, they provide some nice tension. The vocal treatment and placement felt good. Some nice action going on in the stereo domain.

This is a difficult song because it was 16bit and pretty lifeless in the multi, if I recall. Any further compression increases the risks of an even greater loss of dynamic and energy which I'm sensing here when loudness matching to iTune MFiT specs.

The bass guitar was a handful. It's worth an overdub really. I might plug in the e-cello one winter's day and see what this brings. Anyhow, one challenge is to make the bass translate over small speakers, especially as it's an essential driving element (the kick is working well though!). If you could work the mid range somehow, this would help it bring some push and shove. I think the mid range was missing from the track in the multi and I can't remember what I did with it now. I might have reamped it and put a tonne of distortion on another track for blend? Not sure.

There's a synth part which comes in immediately after the first stop at 0:36. It's a little lost here and would benefit from a bit more drama, especially after this stop. Make it pop more, I'd say. You could also go the opposite way and make it big but distant? Think "Drama" Big Grin

Creative. I respect your willingness to explore, not everyone can do that.
"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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#3
(19-08-2019, 03:14 PM)Monk Wrote: Hi Alexander. Some cool moves and edits here which I liked as well as some interesting tones and textures which worked pretty well with your concept. The abrupt intro felt a little too abrupt, even for me. A build would help introduce the ear to what is to come.

I loved the stops, they provide some nice tension. The vocal treatment and placement felt good. Some nice action going on in the stereo domain.

This is a difficult song because it was 16bit and pretty lifeless in the multi, if I recall. Any further compression increases the risks of an even greater loss of dynamic and energy which I'm sensing here when loudness matching to iTune MFiT specs.

The bass guitar was a handful. It's worth an overdub really. I might plug in the e-cello one winter's day and see what this brings. Anyhow, one challenge is to make the bass translate over small speakers, especially as it's an essential driving element (the kick is working well though!). If you could work the mid range somehow, this would help it bring some push and shove. I think the mid range was missing from the track in the multi and I can't remember what I did with it now. I might have reamped it and put a tonne of distortion on another track for blend? Not sure.

There's a synth part which comes in immediately after the first stop at 0:36. It's a little lost here and would benefit from a bit more drama, especially after this stop. Make it pop more, I'd say. You could also go the opposite way and make it big but distant? Think "Drama" Big Grin

Creative. I respect your willingness to explore, not everyone can do that.

Thank you so much for the comment. So, I need to make the following changes:
1. Introduction
2. The sound of the bass
3. Episode after stopping at 0:36 (synthesizer)

Of course, I missed these details, thinking more about the global concept. It always happens: when you look far ahead, you don’t notice what is happening under your very feet. This happens to me often. Big Grin
Thanks again for the comment. The work will continue.
Alexander
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#4
(22-08-2019, 07:19 AM)Equilibrium Wrote: Of course, I missed these details, thinking more about the global concept.

It happens to us all.

I personally wouldn’t get too hung up on the points. Perhaps what is more important is understanding human nature and finding ways to defeat it, or work better with it’s idiosyncrasies so your workflow suits your needs.

I’d try a few check sheets with some bullet points briefly listed; call them Mind Joggers, pointers that prevent us from forgetting key things. It would help focus the mind. Eventually, if you made this flow a routine in every mix, it would become ingrained, habitual.

Pin them on the wall next to you so they are always in your face? Read them before bed, sleep on it?

Get creative with your processes, find ways that help you focus on certain things at certain times. Be inventive. Brian Eno uses a card system when he’s producing, for example. He calls them Oblique Strategies, iirc. You could do a similar thing when mixing, or even mastering.

Just some ideas, but I hope this helps Wink
Keep it coming.

"Nearly half of all teenagers and young adults (12-35 years old) in middle- and high-income countries are exposed to unsafe levels of sound from the use of personal  audio  devices": https://tinyurl.com/6xeeahc5 Read my bio.
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#5
(04-09-2019, 06:59 AM)Monk Wrote:
(22-08-2019, 07:19 AM)Equilibrium Wrote: Of course, I missed these details, thinking more about the global concept.

It happens to us all.

I personally wouldn’t get too hung up on the points. Perhaps what is more important is understanding human nature and finding ways to defeat it, or work better with it’s idiosyncrasies so your workflow suits your needs.

I’d try a few check sheets with some bullet points briefly listed; call them Mind Joggers, pointers that prevent us from forgetting key things. It would help focus the mind. Eventually, if you made this flow a routine in every mix, it would become ingrained, habitual.

Pin them on the wall next to you so they are always in your face? Read them before bed, sleep on it?

Get creative with your processes, find ways that help you focus on certain things at certain times. Be inventive. Brian Eno uses a card system when he’s producing, for example. He calls them Oblique Strategies, iirc. You could do a similar thing when mixing, or even mastering.

Just some ideas, but I hope this helps Wink
Keep it coming.
I usually disagree with Monk but these are all good ideas. I'm iffy on Eno's Oblique Stagedies cards but whatever inspires I suppose.

If you "when you look far ahead, you don’t notice what is happening under your very feet" that might mean you're either bored with the current task or more excited by a different idea. It's natural. I'd say, if that's the case do the thing you're more excited in or something you find more moving. You're doing drum edits but keep thinking about the vocals and effects you're hearing in your head. Do that. Follow your emotion and what inspires.

Which I suppose is a bit in contrast with what Monk said. Make a work flow but if inspired follow through with the emotion as soon as you can. After a while, you'll get a handle and greater understanding of what inspires you and you find the focus and discipline to work on any part knowing you have the skill to do those more interesting and creative ideas a little later.
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#6
(04-09-2019, 01:37 PM)RoyMatthews Wrote:
(04-09-2019, 06:59 AM)Monk Wrote:
(22-08-2019, 07:19 AM)Equilibrium Wrote: Of course, I missed these details, thinking more about the global concept.

It happens to us all.

I personally wouldn’t get too hung up on the points. Perhaps what is more important is understanding human nature and finding ways to defeat it, or work better with it’s idiosyncrasies so your workflow suits your needs.

I’d try a few check sheets with some bullet points briefly listed; call them Mind Joggers, pointers that prevent us from forgetting key things. It would help focus the mind. Eventually, if you made this flow a routine in every mix, it would become ingrained, habitual.

Pin them on the wall next to you so they are always in your face? Read them before bed, sleep on it?

Get creative with your processes, find ways that help you focus on certain things at certain times. Be inventive. Brian Eno uses a card system when he’s producing, for example. He calls them Oblique Strategies, iirc. You could do a similar thing when mixing, or even mastering.

Just some ideas, but I hope this helps Wink
Keep it coming.
I usually disagree with Monk but these are all good ideas. I'm iffy on Eno's Oblique Stagedies cards but whatever inspires I suppose.

If you "when you look far ahead, you don’t notice what is happening under your very feet" that might mean you're either bored with the current task or more excited by a different idea. It's natural. I'd say, if that's the case do the thing you're more excited in or something you find more moving. You're doing drum edits but keep thinking about the vocals and effects you're hearing in your head. Do that. Follow your emotion and what inspires.

Which I suppose is a bit in contrast with what Monk said. Make a work flow but if inspired follow through with the emotion as soon as you can. After a while, you'll get a handle and greater understanding of what inspires you and you find the focus and discipline to work on any part knowing you have the skill to do those more interesting and creative ideas a little later.

Thank you very very much!
Alexander
Reply
#7
(04-09-2019, 06:59 AM)Monk Wrote:
(22-08-2019, 07:19 AM)Equilibrium Wrote: Of course, I missed these details, thinking more about the global concept.

It happens to us all.

I personally wouldn’t get too hung up on the points. Perhaps what is more important is understanding human nature and finding ways to defeat it, or work better with it’s idiosyncrasies so your workflow suits your needs.

I’d try a few check sheets with some bullet points briefly listed; call them Mind Joggers, pointers that prevent us from forgetting key things. It would help focus the mind. Eventually, if you made this flow a routine in every mix, it would become ingrained, habitual.

Pin them on the wall next to you so they are always in your face? Read them before bed, sleep on it?

Get creative with your processes, find ways that help you focus on certain things at certain times. Be inventive. Brian Eno uses a card system when he’s producing, for example. He calls them Oblique Strategies, iirc. You could do a similar thing when mixing, or even mastering.

Just some ideas, but I hope this helps Wink
Keep it coming.

Thank you very much!
Alexander
Reply