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I’m revisiting this to finish it off. The kick-bass relationship required more attack from the kick. Because pitch is difficult to deduce and therefore separate effectively at the fundamental in the sub 100Hz region, I’ve ducked the bass when the kick hits, to help with separation here as well as rolling off some unnecessary flab. There’s some thump on the kick which helps those with decent low end performance. TBH, the bass mirroring the kick is lazy production values in my opinion and introduces some mixing issues unnecessarily.
The bass has some repetitively consistent slap buzz (a characteristic of a VSTi performance), in an effort to add some authenticity but it only ends up doing the opposite. It needed taming. It also got in the way of the kick attack, hindering separation.
I added the filtered repeat “Dream number 12” to the intro section, for the hell of it. Always good to get the song title into the first section for impact and recall.
There’s recorded distortion on one of the synth tracks which the artist missed. It gets exposed on processing.
It’s interesting how so many want to make the uke as bright, brittle and harsh as hell. In reality, the instrument isn’t like this – the strings are nylon with limited resonance, unless you listen a lot to soundcloud or suffer from NIHL. Perhaps try some George Formby for an idea. I don’t think the uke’ works well in the role of a substituted lead guitar, as a few guitar-biased participants have mixed it here. The song is too gentile for placing the instrument in the listener’s face. But each to their own, of course
I could hear a record in this somewhere, but it took some digging to get it out. Great for the Producer-Mix experience, so thanks-a-plenty for that.
I’m revisiting this to finish it off. The kick-bass relationship required more attack from the kick. Because pitch is difficult to deduce and therefore separate effectively at the fundamental in the sub 100Hz region, I’ve ducked the bass when the kick hits, to help with separation here as well as rolling off some unnecessary flab. There’s some thump on the kick which helps those with decent low end performance. TBH, the bass mirroring the kick is lazy production values in my opinion and introduces some mixing issues unnecessarily.
The bass has some repetitively consistent slap buzz (a characteristic of a VSTi performance), in an effort to add some authenticity but it only ends up doing the opposite. It needed taming. It also got in the way of the kick attack, hindering separation.
I added the filtered repeat “Dream number 12” to the intro section, for the hell of it. Always good to get the song title into the first section for impact and recall.
There’s recorded distortion on one of the synth tracks which the artist missed. It gets exposed on processing.
It’s interesting how so many want to make the uke as bright, brittle and harsh as hell. In reality, the instrument isn’t like this – the strings are nylon with limited resonance, unless you listen a lot to soundcloud or suffer from NIHL. Perhaps try some George Formby for an idea. I don’t think the uke’ works well in the role of a substituted lead guitar, as a few guitar-biased participants have mixed it here. The song is too gentile for placing the instrument in the listener’s face. But each to their own, of course
I could hear a record in this somewhere, but it took some digging to get it out. Great for the Producer-Mix experience, so thanks-a-plenty for that.
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