30-08-2021, 01:21 PM
I'm finding this fatiguing. You need to be able to hear the treble because to me it's out of kilter and is over-exposed.
The sub bass is problematic, but I accept their distortion processing (especially with how it's been applied post recording) necessitates considerable attention when mixing it. However, as is, it muddies up the misery range low mids.
The song feels quite mono, offering a benefit of some phase management in the stereo domain?
The ambiance sounds a little too ambiguous for me, with big empty hard space signatures (eg sax/keys) and on other instruments, no spatial signature at all – the Telefunken challenge due to the close mikes and lack of spill and the sense of natural dimension this would ordinarily bring. I'd aim for creating an illusion of space rather than ear candy that risks not making sense. And in this regard also, I'd lose the vocal modulations as they serve no contextural or emotional validity (for me, I hasten to add) and distract rather than help engagement. If you are encouraging as wide an audience as possible, you'd be wise to keep it simple perhaps. The ultimate decision for that pearl of wisdom rests with the artist, of course; I see you nodding in agreement
I respect your courage in exploration though.
The intro gtr has a resonance I dislike for it's unbalanced honk.
I'm finding the sax fighting with the vocal over my speaker
The intro is peaking at -3dBFS which means there's a lack of headroom for the instruments when the band comes in without causing distortion? Limiting as you are, will increase the treble issues I've noted as well as low end problems while bringing unpleasant non-linear artifacts. It is also costing you lost bounce and valuable dynamic energy simply to make it louder. Personally, I'd advise not mastering it (or posting the mix version as well for comparisons and analysis?). Really, you need to be seeking loudness from within the mix itself rather than trying to find it at the mastering stage through limiting, which I'm sensing here.
There might be some benefit worth pursuing detail wise, in automating the relationship between the interplay of the instruments which occurs during some choice moments? Currently, there feels like competing exchanges which demands this particular listener to multitask, and that too, makes it hard to follow if one needs to give it attention. I can appreciate the time angle and the cost/benefit herein of circumnavigating this finer detail though.
Nevertheless, an interesting perspective overall...
The sub bass is problematic, but I accept their distortion processing (especially with how it's been applied post recording) necessitates considerable attention when mixing it. However, as is, it muddies up the misery range low mids.
The song feels quite mono, offering a benefit of some phase management in the stereo domain?
The ambiance sounds a little too ambiguous for me, with big empty hard space signatures (eg sax/keys) and on other instruments, no spatial signature at all – the Telefunken challenge due to the close mikes and lack of spill and the sense of natural dimension this would ordinarily bring. I'd aim for creating an illusion of space rather than ear candy that risks not making sense. And in this regard also, I'd lose the vocal modulations as they serve no contextural or emotional validity (for me, I hasten to add) and distract rather than help engagement. If you are encouraging as wide an audience as possible, you'd be wise to keep it simple perhaps. The ultimate decision for that pearl of wisdom rests with the artist, of course; I see you nodding in agreement
I respect your courage in exploration though.The intro gtr has a resonance I dislike for it's unbalanced honk.
I'm finding the sax fighting with the vocal over my speaker
The intro is peaking at -3dBFS which means there's a lack of headroom for the instruments when the band comes in without causing distortion? Limiting as you are, will increase the treble issues I've noted as well as low end problems while bringing unpleasant non-linear artifacts. It is also costing you lost bounce and valuable dynamic energy simply to make it louder. Personally, I'd advise not mastering it (or posting the mix version as well for comparisons and analysis?). Really, you need to be seeking loudness from within the mix itself rather than trying to find it at the mastering stage through limiting, which I'm sensing here.
There might be some benefit worth pursuing detail wise, in automating the relationship between the interplay of the instruments which occurs during some choice moments? Currently, there feels like competing exchanges which demands this particular listener to multitask, and that too, makes it hard to follow if one needs to give it attention. I can appreciate the time angle and the cost/benefit herein of circumnavigating this finer detail though.
Nevertheless, an interesting perspective overall...
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