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Summerghost by Catmix
#1
My mix of Summerghost. Any comments???


.mp3    summerghost-catmix.mp3 --  (Download: 8.41 MB)


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#2
Nice balance. The vibe fits the song.

I like the long snare reverb.

Male vocal is too sibilant

Bass could have more bass.
Please comment on others mixes, this site is all about feedback.
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#3
(25-10-2014, 02:18 AM)jeremias666 Wrote: Nice balance. The vibe fits the song.

I like the long snare reverb.

Male vocal is too sibilant

Bass could have more bass.

Thanks for your comment. I'll try to fix the sibilance and the bass.
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#4
Hi,

i think there is a bit too much hi frequency content. try equing your reverb sends.

the dessing thing has already been mentioned.

bass is drowning the reverb...making it mushy .and there is a sort of breathing going on ...cant put my finger on it. but in some parts the tracks suddenly jump out.

i think taming the hi freq content would help ur track and would be less fatiguing aswell.

Regards,
Blue bus
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#5
(25-10-2014, 01:58 PM)Blue Bus Wrote: Hi,

i think there is a bit too much hi frequency content. try equing your reverb sends.

the dessing thing has already been mentioned.

bass is drowning the reverb...making it mushy .and there is a sort of breathing going on ...cant put my finger on it. but in some parts the tracks suddenly jump out.

i think taming the hi freq content would help ur track and would be less fatiguing aswell.

Regards,
Blue bus

Thanks for your interesting comments. I will work on it!
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#6
Hey CatMix

I think if you turned the volume of the reverb send, highpassed it around 150-200, and dampened its high frequency content, you'd have a much better mix right off the bat. Right now the verb is causing accumulations in the bass frequencies (as blue bus mentioned) which when mixing will inevitably trick us into reinforcing the highs, and that's where harsh mixes are born... ironically, in the bass.

I can't quite tell if you're doing this or not due to the high level of the verb at the mo, but you'll have an easier time balancing the reverb level if you're controlling how much each track feeds into it. The drums will usually need a little more, the bass, vocals, and guitars will generally need less. The more reverb you apply to each individual instrument, the further away it will sound. My process when dealing with global reverb sends after developing an ambiance I like is to position each instrument in the depth field, making sure the vocal is in front, the guitars and bass right behind, and everything else further back to taste. Then I solo the vocal, turn the reverb send all the way down, then fade it in until I can just barely hear how it's interacting with the vocal. And then I turn it down a decibel! This is of course toward the end of most mixes, after I've implemented any subtle reverbs I think are necessary for sustain, width or tone, although I try to use very transparent plate reverbs for that purpose. Unsolo the vocal, and if you've been careful in selecting and tweaking the ambiance you want, you should be about 90% there at this point.... you'll obviously need to apply equalization to the global reverb to make sure it isn't causing lumpy accumulations in the mids and lows, and the send levels from each instrument will probably need a little jiggery pokery to further enhance the depth-field illusion. Muting and unmuting the reverb send to gauge the difference it's making will make this easier.

When reverb and panning aren't pushing things back far enough (or something sounds far away even when you mute its reverb send) then its at this point that you can return to the mix and adjust your balance while the reverb is active. As far as equalization is concerned, content in the lows and high mids to highs is what will bring something closer in the mix, so gentle shelves in these ranges on any instruments that are resisting your attempts to push them back will automatically bring other instruments a bit further forward. I'd avoid boosting EQs, especially peaking filters, at this point because that sort of processing post-reverb can lead you to upset your balance without realizing it until you've had a nights rest... so it would be better to try and push other instruments back rather than bring prominent instruments forward when it comes to EQ. Compressing a vocal track with a leveling style compressor like an LA2A or Bootsy's Density might help if reverb on other instruments is burying certain syllables, but vocal rides are your best bet, and you probably wouldn't go wrong to try both.

It's at this point also that I'd considering automating the levels and EQs on backing tracks with dense harmonics like electric guitars and pianos... once reverb is applied, especially when you're dealing with a song like this with an ambient nature, the risk of midrange accumulation is enhanced exponentially for every decibel of reverb you add. When there are layered electric guitars, make sure the vocal isn't getting lost with cuts around 2000 to 4000. When there's a piano, keep your ears out for accumulations around 500, and listen especially for how well the piano is getting along with the bass. Don't be afraid to mute the reverb send on the bass if traditional mixing methods aren't keeping it in its place... nobody will miss it. You can also send the bass to a slave track that outputs only to the reverb send, and highpass it at 500... so effectively, only the upper end harmonics of the bass will have reverb! But even then, it's only in sparse arrangements where anyone will notice the bass is missing ambiance. Don't sweat the small stuff Big Grin

Anyway... that's all I can think of. Reverb is a real trick to get just right and it's all too easy to go overboard, especially on a really thirsty track like this which has plenty of room for wetness. I'm not an expert, just another amateur in training, but hopefully some of the things I've learned from overdoing it on reverb might help you. I'm still learning myself.

Cheers. PM me if you revisit this so I can hear it!
I'm grateful for comments and suggestions. Thank you for listening!
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