Another musical gem from the creative skills of Andew Gosden. Thanks to Andrew and Mike for such delightful tracks.
Typical of Fytakyte's arrangements, this has all the tonal and figurative signatures of Andrew's style. At first listen this appeared to be an easy get. However, the curious break in the middle of this arrangement left a large energy hole which needed to be assembled to keep the energy going through this section and through the out. Quite the challenge Mr. Gosden has offered up.
After multiple attempts to address some of the issues and approaches in the original, it seems that the original Fade is the best of my bunch. None of the other erstwhile attempts to improve it, did. The original Fade with whatever issues it may have does seem to capture the song better regardless of the details in the mix. Thanks so much for everyone's input and reviews. This has been a fun project with lots of unique and fun solutions by so many talented mixers. Says a lot about the quality of the compositiion.
Mix Well and Mix Often,
mITc
Fade
This is an early mastered version of the original arrangement.
Fade 3
Based upon multiple statements on the character of the snare in my mix I have resolved to push the snare buss harder into its compressor to add more snap and bite. I think this is better. Thank you.
Fade 4
I added another layer of reverb behind my intermediary 'verb which helps the snare mostly. The top end here is laid back slightly as a result of the added bright reverb.
Fade 5
Made a few adjustments in the master's spatial operations, reduced my overall effects levels as that seemed to be a consistent remark, modified the acoustic guitar levels in the break/bridge to even them out across the rest of the guitar ensemble there. worked on the snare to give it better presence and dynamics, worked HARD on the cymbals and the phaziness they display. Found the culprit to be the toms so I cut the tom tracks up for silence between fills and that did most of the trick. I also reapproached my overheads and room characters too.
New.Alt.Arrangement
This is a reimagined arrangement only because I really like the verses. This was created simply by cutting and pasting of the mastered track with some crossfades. Please excuse the ham-handed approach. This was assembled from Fade 4.
These are my takes on this thoroughly enjoyable song. What do you think of my choices?
Thanks, and as always, Mix well and mix often.
mITc
(P.S.: maybe a lyricist would help?)
Hey Mixinthecloud,
I like the "sonic" footprint of the entire mix and is nice to listen to. Clear and forward vocals, pretty well-balanced kick and bass.
I'm missing the snare body and "power". For me, it is a bit weak and feels tucked behind the stereo image of the entire song.
But overall a great mix
Cheers
(10-03-2024, 10:13 PM)filipandrei Wrote: [ -> ]Hey Mixinthecloud,
I like the "sonic" footprint of the entire mix and is nice to listen to. Clear and forward vocals, pretty well-balanced kick and bass.
I'm missing the snare body and "power". For me, it is a bit weak and feels tucked behind the stereo image of the entire song.
But overall a great mix
Cheers
Filipandrei,
Thanks so much for your comments. Your take on my snare tone and presence is intriguing and I will revisit it. Thank you for your ears on this.
Hi! Listening to your fade mix and I like the vibe of it. I think your snare lacks a bit of body. Also it feels to me that the acoustic guitars are not blending well in the bombastic parts.
Maybe the vocals are a bit too wet in the verses?
Cheers!
(11-03-2024, 09:30 AM)ERJEE Wrote: [ -> ]Hi! Listening to your fade mix and I like the vibe of it. I think your snare lacks a bit of body. Also it feels to me that the acoustic guitars are not blending well in the bombastic parts.
Maybe the vocals are a bit too wet in the verses?
Cheers!
I've addressed the snare. let me know if you think this works better. I left the acoustics as they were as this was by design.
Thanks for the listen and comments.
Hey mixingthecloud,
*fade4
I just listened to your song and I have to say that overall it sounds good. You gave it a certain color and a different orientation from that of the original mix and especially from mine. This is what is interesting about the concept of Cambridge MT, being able to listen to different mixes of the same title and being able to discuss the subject.
So going into some details of your work, here are some remarks (which are only my own): firstly the snare does not seem to be placed in the same general sound space, perhaps a little too upfront but above all it missing the rolls and ghosts between two hits - except in the "rimshot" parts - and therefore this completely modifies the rhythm. These elements exist in the basic tracks of the multitrak (which you consider to be very good and without problems) but which you do not fully restore. Then avoids disturbing effects such as the last note of the solo guitar (and in several places including at 29'') passes from the center to the left...
Considering that the title is divided into three parts - an intro (too long for my taste), a development - there where the singing is - and a last instrumental part only with change of rhythm. So at the moment of the transition from part 2 to part 3 (2'51''), the drums are totally obscured by the acoustic guitars which largely destroys the impact of the change (we could have rather seen a wink to metal with the electric guitars in this place) and then the development of the solo is almost covered by the organ. This completely "softens" this part which should be very "lyrical" with an "apotheosis" side but which in your mix "finishes" the title nicely.
And as always, it's a question of taste and colors which normally cannot be discussed....
Cheers !
Franz
Hey man I'm not sure what happened but the v1 "Fade" sounds better in the stereo field than "Fade 4".
v1 has a solid center and a clear L and R panning.
v4 has a weird sort of delay between L and R making the center odd sounding. It almost sounds like it has a phase problem. I don't know how else to explain it. It could be that reverb you used but I'm not sure as I also hear a stereo spread in the Bass track in a weird way.
Snare is not my friend on this track. Yours sounds good but still too awkward in the tonality of it. I'm not sure what it is perhaps a different snare should have been used in the recording but hey not much we can do here unless we use a sample to go with it ( which I'm tempted to use honestly).
Balances are pretty good overall but I found that Hammond (I believe so, I could be wrong) to be too overpowering with respect to the rest of the balance in the mix. I also agree the acoustic guitars jump at you way too much. I felt their purpose was mostly rhythm oriented so the strumming is what gave the track power more than the actual chord sound. I feel you boosted those for the chords to be heard. ( I could be wrong)
Solo sounds great and it does blend well with the mix. Tambourine and shakers work good, I should boost those in mine.
It's a hard mix so I'm not surprised everyone has a unique take on it.
Hey!
All is ok (FX, EQ, Balance) except the compression in general.
Try to reduce all the compression for all instruments, vocal comp is ok.
Conclusion :
- Too much compression
- More automations
Cyrille
(12-03-2024, 11:31 PM)Franz Wrote: [ -> ]Hey mixingthecloud,
*fade4
I just listened to your song and I have to say that overall it sounds good. You gave it a certain color and a different orientation from that of the original mix and especially from mine. This is what is interesting about the concept of Cambridge MT, being able to listen to different mixes of the same title and being able to discuss the subject.
So going into some details of your work, here are some remarks (which are only my own): firstly the snare does not seem to be placed in the same general sound space, perhaps a little too upfront but above all it missing the rolls and ghosts between two hits - except in the "rimshot" parts - and therefore this completely modifies the rhythm. These elements exist in the basic tracks of the multitrak (which you consider to be very good and without problems) but which you do not fully restore. Then avoids disturbing effects such as the last note of the solo guitar (and in several places including at 29'') passes from the center to the left...
Considering that the title is divided into three parts - an intro (too long for my taste), a development - there where the singing is - and a last instrumental part only with change of rhythm. So at the moment of the transition from part 2 to part 3 (2'51''), the drums are totally obscured by the acoustic guitars which largely destroys the impact of the change (we could have rather seen a wink to metal with the electric guitars in this place) and then the development of the solo is almost covered by the organ. This completely "softens" this part which should be very "lyrical" with an "apotheosis" side but which in your mix "finishes" the title nicely.
And as always, it's a question of taste and colors which normally cannot be discussed....
Cheers !
Franz
Franz,
Hey. Thanks for the listen and analysis. A lot to take in.
In my earlier pass folks had said my snare lacked body and presence. Now I am hearing the opposite. Only a bit confusing! On my snare, I have a gate on the bottom mic to suppress hi-hat leakage. I don't think that would cause ghost notes to disappear. Not sure what I'm missing. I'll have to listen without any processing for the missing ghost notes.
I also have a very narrow band boost in the meat of the snare tone; tone I wanted to bring out. No one seems to like it. My approach to the break/bridge was to find and keep the energy of the ensemble going during this significant change. I did so by continuing the acoustic guitar figures at the top of the break by cutting and pasting those figures to fill in the middle section. I felt this helped continue the energy of the song there. I also lead with the tambourine in that section with its high freq. energy as a goal for the solo and rhythm guitars to build to. Once there, the character of the section changes again with the intro of the shaker. Finding continuity and flow through this section was a real challenge. The drums were also automated there to boost energy in that section. I did not feel it was a drum centered break as it felt more like a guitar break to me (ala: Led Zeppelin) so this was the direction I chose. I believe the drum energy is still there as the guitar solos come into focus and then lead back into an intro section. Obviously, there are myriad ways of interpreting the instrumentation and voicings of the break/bridge. I really liked the big hits of the acoustics coming out of there. I'm sorry you did not like them. You are right about the first part of the guitar solos, where there is a short section of that particular guitar tone. Another challenge I may not have fully met in that phrase. In the guitar solos I automate a parallel distortion track against the original guitars. The solo guitar track has only a hall reverb on it. Nothing else. There is compression to bring out the nuances of his inflections.
Funny that you mention the intro sections being too long. In the New.Alt.Arrangement, I shortened to only two phrases the guitar section between verses. I also repeated the first verse after the solos at the end of the song.
Thanks for the listen and your input.
(13-03-2024, 01:41 AM)Cyrille Wrote: [ -> ]Hey!
All is ok (FX, EQ, Balance) except the compression in general.
Try to reduce all the compression for all instruments, vocal comp is ok.
Conclusion :
- Too much compression
- More automations
Cyrille
Cyrille,
Thanks for your listen and input. I am a bit confused. The most heavily compressed of any track in the mix is the lead vocals. Three stages of compression are utilized and a ton of automation on top of that. The rest of the tracks are compressed as I felt needed to bring out nuance, tone and detail in the mix. A lot of the compression I chose is for tone as well as envelope. Almost every instrument is automated for levels and effects throughout the song. Can you be more specific about where you think compression is too heavy? I try hard to keep as much dynamics in my mixes as possible so too much compression is something I try to avoid. As for the 2 buss, there is a touch of parallel compression for glue at maybe 70% with about 3 to 4 db of compression. There is also a limiter to catch peaks above -0.6 db. Mastering compression is no more than 1 db.
Thanks for the listen and comments.