26-05-2019, 01:01 PM
I guess you used the bass gtr as intro because of unpleasant harmonics in the lead gtr and issues with placement? The bgtr changes the timbre, and brings increased simplicity (effects perception of speed too, an illusion of slowness). It’s less interesting musically due to notation, and because of the tone change doesn’t give me the feel for the song that benefits the concept. It therefore misses preparing the listener for what is to follow. Tone is mood. Another problem the bgtr has, is delivering it over small speakers – it’s unstable here. The sub 100Hz is a problem too but the kick does work over a small speaker.
I agree with shortening the run-in though. You could also take out some bars before the first verse, to help listener expectation where the count is wrong. There’s other opportunities further up in the song too.
The vocal contains nuclear levels of sibilance in the tracking (and it’s also heavily automated and processed, along with everything else!) You might have got away with it to some extent if the drums were forward and better included in the performance. As they are currently, the kit is too detached from the performance for me. Bringing them forwards would include more treble, where the sibilance is residing, so you’d get more masking in your favour (but more gain in the wrong direction!). As it is, the sibilance is very exposed. The cymbals were badly distorted and unpleasant and I suspect you pushed the kit back in depth for this reason?
Loved the stop at 1:10. WICKED!
In the latter section, there are many instruments doing many things. I wonder if some decisions were left until mixdown because it seems there’s too much busy content here.
Totally agree with dropping the synth outro and the giggle; they felt sooo disconnected from prior musical events.
I agree with shortening the run-in though. You could also take out some bars before the first verse, to help listener expectation where the count is wrong. There’s other opportunities further up in the song too.
The vocal contains nuclear levels of sibilance in the tracking (and it’s also heavily automated and processed, along with everything else!) You might have got away with it to some extent if the drums were forward and better included in the performance. As they are currently, the kit is too detached from the performance for me. Bringing them forwards would include more treble, where the sibilance is residing, so you’d get more masking in your favour (but more gain in the wrong direction!). As it is, the sibilance is very exposed. The cymbals were badly distorted and unpleasant and I suspect you pushed the kit back in depth for this reason?
Loved the stop at 1:10. WICKED!
In the latter section, there are many instruments doing many things. I wonder if some decisions were left until mixdown because it seems there’s too much busy content here.
Totally agree with dropping the synth outro and the giggle; they felt sooo disconnected from prior musical events.
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