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"Drag" The Long Wait
#1
Getting the basics in place for this tune was quick, however, getting the final levels correct took a few retries. Thus, this is mix #3, which brings the vocals and drums to the forefront, and I believe the various guitars are placed as they need to be so everything is heard. Its got a fairly wide stereo field, which required little extra effort on my part. Your thoughts are appreciated.


.mp3    TheLongWait_Drag_Mix3_Master.mp3 --  (Download: 12.87 MB)


Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
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#2
First thing what is heard is that double vox is too loud (when she sings " quarter to 8, so i pack ..."). And you realy should use a gate in vox channel, particularly at the beginning. And I don't know why, but there is definitely something wrong with drums (too muddy), particularly in the choruses. This is just my opinion. Good luck!
Sasha MD
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#3
There's now -12.5 dB bell on the kick drum at 124Hz, giving the bass guitar some space, and several low cuts at 40Hz / 10dB per octave on the kick, and again in the mastering. Vocals have been re-balanced also.


.mp3    TheLongWait_Drag_Mix6_Master.mp3 --  (Download: 13.3 MB)


Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
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#4
Hey dave

Nice Job ..your new moves really brought the mix to life. seems to have corrected what Coulomb was mentioning. Snare sounds good and the vocals sound really good to me and everything is balanced really well. I enjoyed listening.
Great Job!!

Cheers

KSmile
Gear:-Zoom R24 interface, controller - Cubase/Reaper - Assorted Waves, Airwindows suite, AKG K240 Cans, Event TR5 reference monitors.
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#5
Thanks, K. I still make the same assumption - leave as much of what's recorded as "unblemished" as possible. The 6dB cut originally at 124Hz wasn't deep enough or wide enough. Once upon a time, I was told there's not much reason to keep anything on a kick track above 1 or 2kHz. Maybe that's true for a pop or jazz tune, but in rock, there's another harmonic of that beater up at 8kHz. High cut that and the beater attack is shot. The same sort of thing was said about the toms - why keep above 1 or 2k? Working some of these tracks where there's only 3 drum tracks - kick, snare and stereo overheads, teaches the lesson when you hear more attack on your toms, because you never high cut the overheads. EQing stuff can be taken to some reasonable extremes, as in the case of the kick cut at 124Hz. The result being, the toms are much more present, and I didn't have to do anything to the bass guitar, they filled the gap nicely. I'm climbing the learning curves, sometimes clawing at it.
Peace,
Dave
Mid 2019 Mac Pro; Focusrite Scarlet 18i20 USB2 audio interface; Logic Pro X; FabFilter C2, DS, L1, Q3, R, Saturn2, Timeless2 ; Native Instruments Komplete 13; Waves 12 Gold; Rokit 6 G3 monitors; AKG K240 MKII and Beyerdynamic DT990 Pro cans.
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