23-02-2021, 04:40 PM
(This post was last modified: 23-02-2021, 04:50 PM by SonicTramp.
Edit Reason: posting timing
)
* This post is for the first version. Not the second one.
@0:27, the vocal ducked down noticeably. From 1:27- forward, the e-guitar move is too obvious. The kick is buried when the vocal gets louder. Solo the mandolin tracks and you'll hear the bleed, the mud of the snare, and the mud of the vocal in it. Perhaps it is the source of your rather dark rhythm section. You can say that's bc of "live" performance, but I can say the same to everything. It doesn't matter how it comes to us, we, as mixers, must do whatever in our power to overcome the difficulty and make everything as listenable as we can. If we have to go to the extreme to get it, then let it be, imo. If you HP the bass all the way to 20kHz
(talk about extremity) and I still hear it and the mix is still banging then by all means HP it all the way there, right? I listen to the mix as a whole, if nothing jumps out at me then it is a good mix. The beauty is: no one notices what we did to the instruments. If I have to aim, that would be my target. To be invisible.
I have to admit that I do listen to others' mixes with critical ears. I am more of a technician, not an artist, not yet, at this level. I worry about the mud, the sub, the compressors, intelligibility, punch, etc. technical stuffs. So I pay more attention there. If I run into a great mix, I'd listen to it more to learn. I'd try to guess all the moves and mimic it best I can. I'd love it if someone tells me how sucky my mix is (truthfully, not trying to rain on my parade) and can actually show me how to correct it and make it better. A few in here already did that, and my mix actually got better. Now looking back on those early mixes I feel grateful to the folks that helped me out by criticizing my mixes.
@0:27, the vocal ducked down noticeably. From 1:27- forward, the e-guitar move is too obvious. The kick is buried when the vocal gets louder. Solo the mandolin tracks and you'll hear the bleed, the mud of the snare, and the mud of the vocal in it. Perhaps it is the source of your rather dark rhythm section. You can say that's bc of "live" performance, but I can say the same to everything. It doesn't matter how it comes to us, we, as mixers, must do whatever in our power to overcome the difficulty and make everything as listenable as we can. If we have to go to the extreme to get it, then let it be, imo. If you HP the bass all the way to 20kHz
(talk about extremity) and I still hear it and the mix is still banging then by all means HP it all the way there, right? I listen to the mix as a whole, if nothing jumps out at me then it is a good mix. The beauty is: no one notices what we did to the instruments. If I have to aim, that would be my target. To be invisible.I have to admit that I do listen to others' mixes with critical ears. I am more of a technician, not an artist, not yet, at this level. I worry about the mud, the sub, the compressors, intelligibility, punch, etc. technical stuffs. So I pay more attention there. If I run into a great mix, I'd listen to it more to learn. I'd try to guess all the moves and mimic it best I can. I'd love it if someone tells me how sucky my mix is (truthfully, not trying to rain on my parade) and can actually show me how to correct it and make it better. A few in here already did that, and my mix actually got better. Now looking back on those early mixes I feel grateful to the folks that helped me out by criticizing my mixes.