I like where you're going with this, and I think the vocals sound really good... great delays/ambiance, and the acoustic guitars really serve their purpose here. Sparkly and rhythmic... love it.
Main thing though, and maybe this is intentional or related to the tracking, but I don't think you're really putting the whole spectrum to work. Mostly the production feels really biased toward the mid-range frequencies. I'm not hearing as much bass as I'd like to, especially from the bass guitar, which sounds like it's not delivering much below 125 or so... although this spectral distribution is certainly more typical of the way this genre was produced in the 80s, so if that was your reference and intention, I will gladly shut up
Or does the bass guitar just not want to put out that sort of low end energy? I've encountered somewhere around four thousand bass tracks that simply refused to be meaty, even when I threatened them.
I'm grateful for comments and suggestions. Thank you for listening!
I agree with you the lowend of this one sucks. Its me focusin more on music and arrangement than lowend, which is actually stupid because that is a weak ont of mine. I tried not to make my usual mistake of havin bas too high in the mix, and guess I didnt give it the lowend it deserved. Thx m8 !
I just had to mix the song because I liked the doubletrack´d voice in verse, Ozzy it said to me. I like Ozzy
The delays are sidechained with the chorus vocals and that keeps it out o the way when they sing. I love that TAL delay, its red and nasty soundin ... http://kunz.corrupt.ch/products/tal-dub TAL dub 2
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
I don't think you usually have the bass too high, personally.... you keep the low end really clear, too.
Another thing I'm noticing... do the horns sound a little thin, or is that just me? Although it'd be pretty tough to get the mids in the horns beefy without sacrificing power from the guitars without a lot of automation. Something I seem to do a lot with really "brassy" sounding horns is saturation, and that helps just about anything co-exist with a rock guitar. Just a thought.
Speaking of red, nasty delays, there's a delay I've been using lately you might want to check out... it's Variety of Sound's NastyDLA. The name says it all...
I'm grateful for comments and suggestions. Thank you for listening!
Saturation is often useful. I made it low in volume and didnt do much to make it full soundin as it fitted the role I wanted it to have, just playin in shorter segments its more like a helper than a solo instr. I think.
All those plugins ... I feel lucky my old gear sets a natural limit to what I can run.
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
18-10-2014, 02:31 AM (This post was last modified: 18-10-2014, 02:44 AM by HbGuitar.)
I love how you moved the horns around in this.....the crescendo out of the bridge into final chorus is brilliant..! made all the more effective by the stripped down nature of the bridge itself.
I must admit I was surprised that the original arrangement used strings to perform this final crescendo and always felt brass would be better.....so i love how you ACT on your intuition.
Regarding bass/bottom end.....I'm getting plenty of bass in your mix....its really solid...you have a very meaty peak at ~90hz...probably the biggest peak in the whole spectrum. In terms of balance you could maybe bring up the kick to support the bass slightly ..or duck the bass when the kick plays if the levels are playing havoc with your meters..or even add a little bit of low end saturation to the kick so the thump is slightly more audible as there are some pretty healthy peaks already being generated by the kick ~80hz ... increasing the level of the kick is maybe the least desirable option ....but imo there is definitely plenty of bass
Thank you - spot on, I thought that was THE place to have brass, and I moved it.
I think the solution is givin the kick some help higher up, be that eq, saturation, a sample or all.
Its interesting Pauli suggest helpin bas, givin ot lowend, you suggest helpin kick and duckin bass
Back to the drawin board
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
A guy once our 1st minister used to say: You have a postition untill you decide otherwise.
I know I said i wouldnt mix it again but too many good replies, so here it is -
I changed kick-bas relations, before kick were low, bas hi, now I boost bas low and kick high. Also added more middle to kick to make it cut, and a sidechained comp on bas, takin a couple o dB when kick hits.
Saturated brass, I liked it.
To my ears on my system kick bas sit better now and dont fight eachother as much as before.
There are even places where I hear slight playin errors, I couldnt hear before, so it tells me they are better separated.
Old ears, old gear, little boy inside love music and sounds and my wife, not necessarily in that order
Crumbs -- you're Mr Multiple Versions on this one, Voelund! I've checked out the latest, and it certainly seems the iterative approach has ben paying off, because you've homed in on a very respectable balance, with a nice rich sound. I wonder whether you could have multed to acoustic guitars to give them more body in the verses, though. Also, I think perhaps the effects overall are a bit heavy, because the choruses almost feel a bit too rich somehow, which blurs the details a bit and distances things a little. Try pulling all the returns back a decibel or two and see how it sounds.
