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We'll talk about it all tonight (Sano mix)
#11
Thanks all for your comments and discussion.

A lot of good points made, for me I think the first mistakes I made was dealing with the piano and the acoustic guitars eq. I built my mix around these two instruments and eq ing around them was a losing battle.

I guess referencing at all points, especially the start and end of the mix would help avoid these problems.

In hindsight I think the tracks need quite a bit of work to tame the high end and bring it under control but yes lost of perspective had me working in the opposite direction.

I have to agree with pauli that the first and foremost cause of the harsh/overly bright mixes here on the forum are due to the source material and lost of perspective.

Note to self ....reference, reference, reference!


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#12
My first temptation was to mix around the piano too, and I wound up start over when I tried to fit the vocal... It's a natural temptation to mix around the one instrument that's present for the entire song, and usually a good idea IMHO, but there's just so much spectral content in a piano track.. The instrument is designed to be a cornacopia of natural harmonics, and it has the largest range of any instrument... Except for perhaps a full drum kit, and drums are often regarded as the most difficult mixing task. What's important is that we learned from this mistake... That's progress!!!
I'm grateful for comments and suggestions. Thank you for listening!
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#13
I feel the balances and most sounds are ok, but the glockenspiel is so sharp that it prevents me from listening you mix with normal analysis. Like a laser beam as Dave mentioned.

Also the vocal sound is quite near, but it's probably the compression there, that prevents it opening up thoroughly.

I'm sure that it's just some small adjustements and that will make your mix shine.
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#14
(15-07-2014, 06:39 PM)pauli Wrote: My first temptation was to mix around the piano too, and I wound up start over when I tried to fit the vocal... It's a natural temptation to mix around the one instrument that's present for the entire song, and usually a good idea IMHO, but there's just so much spectral content in a piano track..
How about making first a rough mix with no plugins or just hi-pass filters or so, and after that start tweaking each instruments in relation to overall sound. And start tweaking with those most evident small things that'll you should fix no matter what. That way you'll be listening if the sound works in the context and you'll be all the time thinking through the arrangement. And minute by minute the rough mix is coming better and better.

I don't try to say that one shouldn't use solo buttons etc, but I feel that the overall context is very important in most of the adjustments.

For example: should acoustic guitar be darker or brighter. I don't know. There is no such a thing as ultimate acoustic guitar sound as such. There could be two perfect "grammy winning " mixes of the same material, and in another the acoustic guitar is dark as a dungeon, and in another mix it's audible only in hi-hat areas. But in both of those mixes it could be just perfect for the role that the mixer has given to it.
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#15
Yes, I like to start with a rough balance as you've described. I think in this song any natural sound would fly, dark or bright, so long as the vocal took precedence.
I'm grateful for comments and suggestions. Thank you for listening!
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