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Long Road
#1
Fond memories from childhood.


.mp3    Long Road Master.mp3 --  (Download: 8.7 MB)


I'm grateful for comments and suggestions. Thank you for listening!
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#2
Nice sounding mix pauli. Everything sounds well balanced. I would like to hear a little more low end though but you mention on my mix of this song that my low end was a little too much. It's always a hard call but I find referencing always helps find the right ballpark but it's something I neglect to do enough of sometimes.

I think I mentioned to you before about using the master bus compressor to give the mix some life and movement. Again I think your mix would benefit from a more aggressive approach here. I'm not talking squashing the life out of it, the compression here is more the side effect, the compromise that will be made. I'm talking more setting the release times so the compressor is moving and shaping the entire mix adding energy and excitement to it.
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#3
Thanks for your thoughts as always. This is a pretty boring and lifeless mix, and some pumping is going to help with that. I'll have to take another look at it Big Grin
I'm grateful for comments and suggestions. Thank you for listening!
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#4
(31-08-2014, 11:26 AM)sano Wrote: ....I would like to hear a little more low end though but you mention on my mix of this song that my low end was a little too much. It's always a hard call but I find referencing always helps find the right ballpark but it's something I neglect to do enough of sometimes.

bass is always going to be a difficult call, unless you've a respectable sub woofer and a well treated room that has decent proportions, including height. referencing is only as good as one's set-up, and ported speakers won't help a tuppence, depending on where the port is tuned....and subsequently where the listeners ports are tuned, etc etc. so, where one monitor pair will deliver a reliable, accurate presentation of bass, say a portless design, a ported pair will reveal something totally different and it's this that effectively makes referencing something of a lottery. the problem with referencing is that your monitors will deliver the reference in a specific way, and the chances are, what you are hearing ain't reality....but a distorted presentation which will colour one's perceptions of reality and this will, in turn, impact on judgement, the extent depending on how good/bad one's boxes are....as well as the frequency response of the room we're working in.

the game is more complicated when we are talking about 2-ways, because the woofer will be designed in a specific way to deliver a COMPROMISE, i.e. a woofer in a 2-way can't deliver bass AND an accurate mid range because of the Laws of Science. it will do one well, or the other well, not both well. a non-ported design, however, will be able to get closer, but not as close as a 3-way non-ported design...and arguably, that won't get as close as a non-ported sub woofer accurately set-up.

depressing, eh?


(31-08-2014, 11:26 AM)sano Wrote: I think I mentioned to you before about using the master bus compressor to give the mix some life and movement. Again I think your mix would benefit from a more aggressive approach here. I'm not talking squashing the life out of it, the compression here is more the side effect, the compromise that will be made. I'm talking more setting the release times so the compressor is moving and shaping the entire mix adding energy and excitement to it.

Pauli's strategy is to apply compression during the mastering stage, but i'm not sure that is the right way to go about things....at least when talking about a song that is >>not<< going on an album where it would ordinarily be necessary to retain audio consistency across the board.

personally, i prefer to mix into a buss compressor (single band) towards the end of the mixing process because it's essential that we have an idea how the mix will perform and sound if, or when mastered. it's my long personal experience, that unless this process is adopted, mastering can really bring out the gremlins which often ends up in a need to do more processing at the mastering stage than should be necessary, or necessitate another visit back to the mix....which still ends up being something of a guessing game. as they say, a perfect mix shouldn't need mastering, yet people often obsess about "mastering" per se when instead they should be obsessing about the mix. i'm speaking of obsession in general terms, not that i'm suggesting this is the case herein Wink


(31-08-2014, 09:21 PM)pauli Wrote: This is a pretty boring and lifeless mix, and some pumping is going to help with that.

while you are in there, can i recommend you review the panning? everyone's mix of this thing gives me nausea. i get the panning as an effect in the arrangement, but it lasts farrrrr tooooo longgggg and loses it's credibility and impact as a result. to be subjected to extended pan automation is well known to cause issues in this regard, and shows a lack of experience, especially from the musician's perspective. i'd think about employing a widening technique, so it starts in mono say, then spreads wide into a climax of some sort. regardless, it needs taming, not only from a subjective standpoint, but a highly objective one?

i'm not sure how one can make a mix of this less repetitive while offering some decent transitions to engage the listener more and take them on a journey where the view of the countryside changes? a good mix of this, if it's possible without a remix, is going to take some doing me thinks. getting some pumping going will only help, i feel, if the project has something to pump about....and i'm not seeing the opportunities because of the way it's been arranged. i'm glad i'm not mixing it....
Beware...........Cognitive Dissonance!
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#5
You know, funny thing is that I didn't really feel like I had anything to sink my teeth into, stereo wise, because there aren't many tracks available to work with. This might be the rare mix that benefits from adding parts rather than muting
I'm grateful for comments and suggestions. Thank you for listening!
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#6
Hey Pauli,

Digging the effects on the intro and the bridge a lot! This makes the Track seem certainly more intriguing and admittedly more fun! Smile
Overall this Track is well balanced gain-wise, though I would reduce the snare sound by 1-2 dB as it seems a bit too overpowered in my head.
Apart from that, I'm enjoying listening to this Mix a lot! Great job, Pauli! Smile
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