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Digital Only Logic Proz Hope and The Sea
#11
(21-08-2019, 11:14 AM)Quathamer Wrote: That's fair, but I would still argue that you still have a lot of control over the style and feel of the track. Whether the band is good or not, nobody will listen to them if it's boring or sounds like crap. I think it's the engineer's job to make it interesting for the listener as much as it's the band's job to make it interesting. That's why the best engineers are the best engineers, because they know how to make people listen to their music.

Sure. You can do anything you want with a song and an arrangement. Nothing is necessarily right or wrong. Artists may chose a mixer because of the genre they are best known for or the work he or she may have done but they will miss as many times as anybody if they don't capture the intent of the artist. In the case of the songs we mix here, that is mostly a moot point as there is little or no interaction with the artist. That gives us freedom to take any direction we want without repercussion. Not much of a true test since the only people who listen to our mixes are the other melon heads doing the same thing we are. Comparing our mixes to mixes done for artist like Adelle I think is somewhat pointless. We have no market test here, only the ears of others like ourselves. And just because she may have approved something does not make it right. Anomalies abound everywhere. Great mixers know how to enhance and embellish an artist's work. Saying they know how to make people listen I think is a bit over the top.
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#12
What genre would you place this arrangement in?
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#13
(21-08-2019, 02:28 PM)Mixinthecloud Wrote: What genre would you place this arrangement in?

Yeah, that's a good question. I would say funk-rock with a slide of jazz? Maybe?

Anyways, took you up on your advice and added a drier mix and a couple of other tweaks.

Also, just a note on the other convo, I would say that artists hire engineers because they fit their mould, for sure, but also a really experienced engineer will know how to make a song sound attractive. That's essentially what I do for my clients in the live scene, and I work with some really big acts. I'm currently working with a band called the Hollow Coves for their upcoming euro tour, and they say that they hire me because they like the energy I give to their music while enhancing their acoustic vibes. Any old sound guy can make a couple of acoustics sound good, but the trick is adding energy. That's what sells records. And that's what gets me paid. I mean, you can do whatever you want, like you said. You do you bro.
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#14
(21-08-2019, 02:46 PM)Quathamer Wrote:
(21-08-2019, 02:28 PM)Mixinthecloud Wrote: What genre would you place this arrangement in?

Yeah, that's a good question. I would say funk-rock with a slide of jazz? Maybe?

Anyways, took you up on your advice and added a drier mix and a couple of other tweaks.

Also, just a note on the other convo, I would say that artists hire engineers because they fit their mould, for sure, but also a really experienced engineer will know how to make a song sound attractive. That's essentially what I do for my clients in the live scene, and I work with some really big acts. I'm currently working with a band called the Hollow Coves for their upcoming euro tour, and they say that they hire me because they like the energy I give to their music while enhancing their acoustic vibes. Any old sound guy can make a couple of acoustics sound good, but the trick is adding energy. That's what sells records. And that's what gets me paid. I mean, you can do whatever you want, like you said. You do you bro.

I'm an old live sound guy too although it has been a while since I worked with any major acts being that I moved to computer networking rather than lugging double 18 scoops around. Since live is temporal you don't have to worry much about artifacts as much, only energy and there are things I did live I could never get away with in the studio. I just saw Joan Jett and Heart at a major amphitheater in my area and I am constantly amazed at how far live sound has come especially in the shadow of Woodstock's 50 year anniversary. The beam forming and lobe control of arrays these days is just astounding. I was 125 meters and stage center away from to stage and it sounded like I was sitting in front of a great pair of stereo speakers. No need to get close to see the band as the huge 4K screens bring an edited performance to every attendee. The delay hangs are being used creatively to not only reenforce but to add dimensional aspects to mixes as well. Truly amazing stuff. Oh to be able to spend a few hours digging through John Meyers head... I have used SIM at its earliest stages and it was amazing back in the 90s. What they do now with alignment and DSP control is incredible.
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#15
OK. So mix 2 I find to much easier to listen to with the space you placed the performance in much more complimentary to the the arrangement. I am able to more easily listen to the performance than trying to listen through the heavier reverb of the first mix. Psycho-acoustically you can filter lot of things out but that takes energy. Maybe we are just cursed by having finely tuned ears. For years when I was mixing live, I would go to shows and could only listen to the mix and not the performance. Our curse, I guess.

Anyway, great sounding mix.
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#16
(21-08-2019, 05:00 PM)Mixinthecloud Wrote: OK. So mix 2 I find to much easier to listen to with the space you placed the performance in much more complimentary to the the arrangement. I am able to more easily listen to the performance than trying to listen through the heavier reverb of the first mix. Psycho-acoustically you can filter lot of things out but that takes energy. Maybe we are just cursed by having finely tuned ears. For years when I was mixing live, I would go to shows and could only listen to the mix and not the performance. Our curse, I guess.

Anyway, great sounding mix.

Yeah, I see your point, but I think maybe I still prefer mix 1 on a body and fullness point of view, but that is a matter of opinion.

Thanks again for the comments!
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#17
This is sounding really great here - especially with the sub switched on. Personally I find I do much prefer the first mix. For me it has a better vibe and a real nice 'bounce' to it - especially from around 1:28. The kick/bass/snare and sax are really working well together at that point in the first version (compared to the second mix) and it keeps on getting better! Yeah the first mix for me has definitely got more excitement and also that modern sound you are going for, certainly to my ears. Well done. I really enjoyed listening to this. Sounds as close as anything to a commercial mix to me.
Just uploaded a mix/master?  Waiting for comments? Why not give back and critique a mix/master, or two!
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#18
(22-08-2019, 04:42 PM)mikej Wrote: This is sounding really great here - especially with the sub switched on. Personally I find I do much prefer the first mix. For me it has a better vibe and a real nice 'bounce' to it - especially from around 1:28. The kick/bass/snare and sax are really working well together at that point in the first version (compared to the second mix) and it keeps on getting better! Yeah the first mix for me has definitely got more excitement and also that modern sound you are going for, certainly to my ears. Well done. I really enjoyed listening to this. Sounds as close as anything to a commercial mix to me.

Cheers mate! Appreciate the comments and all the support. For a mix that’s 100% in the box, I’m happy with how it turned out too.

Thanks Mike
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