12-10-2021, 10:11 AM
(11-10-2021, 10:33 PM)SonicTramp Wrote: Never Let You GO Push it even harder (compression).mp3.Hey, I remixed it last night and took a lot of good advice, Sir. Thanks but still not as good as your mixes.
Thanks for leaving comment on mine. I really appreciate it. So naturally I listen to yours as a return of a favor and hope that I can help.
The first thing I notice is the good vocal. I like it, nice and sweet. I'd put a little less feedback on the delay to control the last few repeats so that they don't trip the vocal on the faster notes in the verse. The BV (male) is a bit loud relatively to the main vox. Pulling it back a bit will not harm anything. You lose some of the impact that should be there in the hook, the bass is nice but the kick is not helping enough. We need to get that kick slamming. Yep, the chorus is where we pay the bills, so to speak. And it can't do it w/o the kick. I also recommend more delay on the vox in the chorus, just throw the tail end of her voice a bit longer for more impact , but that's just a taste thing. I like the guitar and the piano. They cut thru adequately. There is another guitar part that I have trouble hearing, and yeah, I got a few bruises and a black eye trying to fight it, as always. But that's what we do, right?
This type of production/genre is hard to do. Not bc it's hard to mix (all the songs are hard to mix) but too many little things happening so quickly, not to mention the ginormous track counts. For example, there are "fx" in the tracks that help with some of the impact that if you are not careful you'd miss it. And bc we don't have an army of assistants to help we just have to do it ourselves. Some of the things I do actually help. I'll share it here with you even though I am aware that you already know a lot already so I'll minimize it to a couple that really matter for now.
1. Gain-staging. I hear conflicting argument about this. Some don't care, some swear by it. I am in neither camp, not that extreme, but I do bc what harm can it do? But I can tell you what good it does tho. It'll feed your input equal strength with other instruments, not wimpy and weak leading to more fader flexibility. Those seem to be good reasons for me.
2. Phase coherence. Yeah, I never cared for it either, but I have learned my lesson. The kick (in/out) will be much more powerful, same with the snare/oh and its image, same with the bass (di/amp). I am talking about quality (definition) not quantity (volume) Anything recorded with 2 mics should be investigated. Very hard to hear the differences but with practice one will be able to hear it, headphones helps bigly. Once you hear it, you'll be a believer.
3. Balancing (volume) the song WITHOUT any processing with all faders up to make sure we don't "forget" anything. The time you spend here will help in the next steps.
4. Filtering only. Just HP or LP. The key here is to listen not only to the instruments you apply the filter to, but also the surrounding instruments and how they react to your move. For example, if you LP the bass, listen to the kick, especially the beater part, the attack. You should be able to hear it soon as you move past 8kHz. If you HP on guitar, listen to the vocal/snare/hats/etc at that region (~80Hz-100Hz). The snare will show more body, the kick will show more thump, and the vocal will be thicker more weight, etc. Listen carefully and you'll hear the reaction. Loops and bypass buttons are real friends here (to make sure your ears don't trick you, and they will). Put in enough time, it'll become second nature. I am still practicing listening to that.
From this point onward you should be able to apply whatever you know to the mix.
Well, I hope you'll find something there useful or interesting. I wish I could give you more but that's all I know for now. The main thing is it helps me with my mix, and, who knows, it might help you too.
Thanks for the time you spent on my mixes. It helps. Cheers!
bass is wide and narrow in different versions plus one version background male is lower than the others.