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Old 1 week ago
  #4111
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by wagtunes View Post
I was just being honest and I didn't think I said anything that was so horrible. The masses DO expect a sort of thing. That's just the way it is. When you stray too far from that, they either don't get it or reject it outright. This is why we HAVE such a thing as "popular" music. It's music that the masses in general enjoy. This has nothing to do with any personal issues that I have. It's just the way things are. One need only look at the charts and what's dominated them for the last 5 years if not longer.

If being honest about what I think of the music business is going to kill this thread, that doesn't say a lot about the people who come here if they can't handle a simple opinion.

But hey, far be it for me to be a kill joy. So I'll just keep my opinions to myself from now on. I've already said goodbye to one forum this week. I have no problem putting this one behind me as well.
No, it’s not just that last post, although it seems rather irrelevant and obvious, it’s the general attitude that comes from several of your recent posts, mainly “It is what it is, I don’t care what anyone else thinks, I’m not changing anything, I’m not going to do things to please others.” etc. etc. That’s fine, although I am left wondering why you are posting in this thread if you don’t want or need any feedback. Surely you would be better off starting your own thread for your finished music where people can listen to your tracks, rather than here which is more about asking others for their input and help.
Being ‘honest’ is not the issue, I don’t care about your honest opinions about the music industry, at least not in this thread, that too, is for another thread.
I DO care about your honest opinions about the mixes people put up here for review. It’s all about being helpful and sharing skills and pointing out things that we might be a bit too close to notice. Lending our ears, if you will.
You don’t need to keep walking out and slamming the door, just chill and contribute if you can and be less resistant to other’s ideas and observations or sit back and learn. My ears have definitely improved as a result of being here and, as a result I am more critical than ever about my music. Now, that might be a difficult thing to take on board but it beats getting stuck in my bad habits and never really progressing and it’s what I am here for in the end.
Old 1 week ago
  #4112
Lives for gear
Ok, so addressed snare and also added some air to jo's vocal. I may lift all the vocals by half a dB, but will judge that in morning but I think most think they are where they should be?

Is snare good now or still a little loud? Jo's vocal better (match timbre of mine more)?
Old 1 week ago
  #4113
Lives for gear
 
wagtunes's Avatar
 

Quote:
Originally Posted by Zyzygis View Post
No, it’s not just that last post, although it seems rather irrelevant and obvious, it’s the general attitude that comes from several of your recent posts, mainly “It is what it is, I don’t care what anyone else thinks, I’m not changing anything, I’m not going to do things to please others.” etc. etc. That’s fine, although I am left wondering why you are posting in this thread if you don’t want or need any feedback. Surely you would be better off starting your own thread for your finished music where people can listen to your tracks, rather than here which is more about asking others for their input and help.
Being ‘honest’ is not the issue, I don’t care about your honest opinions about the music industry, at least not in this thread, that too, is for another thread.
I DO care about your honest opinions about the mixes people put up here for review. It’s all about being helpful and sharing skills and pointing out things that we might be a bit too close to notice. Lending our ears, if you will.
You don’t need to keep walking out and slamming the door, just chill and contribute if you can and be less resistant to other’s ideas and observations or sit back and learn. My ears have definitely improved as a result of being here and, as a result I am more critical than ever about my music. Now, that might be a difficult thing to take on board but it beats getting stuck in my bad habits and never really progressing and it’s what I am here for in the end.
Then here's the bottom line. I can't be of any help here. I heard nothing wrong with Kane's track. To me, it was fine. You picked on the snare. I heard absolutely nothing wrong with it. I still don't.

So it's obvious I don't have the ears to be of any value here so there is no point to my being here.

It's just plain unemotional logic. If you can't help, you're just in the way.
Old 1 week ago
  #4114
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by wagtunes View Post
Know what? I had already left this forum a while back because I was told my music was driving people away. So I left and guess what? The place became a ghost town. Every once in a while somebody would post a track and almost nobody would comment. Nothing's changed.

Z, I get you're having a bad week but don't take it out on me. I won't stand for it.

Anyway, I am done and this time for good. Nobody listens to my stuff anyway and I can't offer an opinion around here without it being shoved down my throat and being told I'm going to kill this place so this was the last straw.

This is my last post here.

Kane, I love your stuff. When you post music, I'll comment on Soundcloud directly IF you want me to. If not, and you want me to keep my mouth shut too, I will.

Anyway, I'd like to say it's been fun but mostly it's been just aggravating.

And I don't need it.
Saying that I am taking anything out on you because I‘m having a bad week is just low.
Sorry to see you go (again) Wags, but you are far too emotional for me to feel comfortable responding to and that IS aggravating.
Old 1 week ago
  #4115
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by Mr Funk View Post
Ok, so addressed snare and also added some air to jo's vocal. I may lift all the vocals by half a dB, but will judge that in morning but I think most think they are where they should be?

Is snare good now or still a little loud? Jo's vocal better (match timbre of mine more)?
It’s really close now, I would try three mixes and live with them for a few days.
One as is, one with vocals up and one with snare down a touch more, perhaps using something like Trackspacer or a mutiband comp to duck just the high end of the snare with a vocal sidechain.
You’ll soon know which you prefer.
Old 1 week ago
  #4116
Lives for gear
Quote:
Originally Posted by Zyzygis View Post
It’s really close now, I would try three mixes and live with them for a few days.
One as is, one with vocals up and one with snare down a touch more, perhaps using something like Trackspacer or a mutiband comp to duck just the high end of the snare with a vocal sidechain.
You’ll soon know which you prefer.
Good idea. I had thought about side chaining a compressor to the vocal and a multibsbd would be worth a go.
Old 1 week ago
  #4117
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by wagtunes View Post
Then here's the bottom line. I can't be of any help here. I heard nothing wrong with Kane's track. To me, it was fine. You picked on the snare. I heard absolutely nothing wrong with it. I still don't.

So it's obvious I don't have the ears to be of any value here so there is no point to my being here.

It's just plain unemotional logic. If you can't help, you're just in the way.
Why does it have to be so over the top?
Just because you ‘don’t have the ears’ doesn’t mean you have no value here. The value you give to it is dependent on your agenda. If you are able to listen and learn then it has value, it gives us all value when we help each other, that means accepting help when it is offered rather than becoming defensive and dismissive of other’s attempts to help.
I have to learn to hear again and again just like I have to learn my monitors or phones and make adjustments for frequency biases etc.
The great thing about being here is that you can be here and not be in the way, but listen, learn and then contribute when you have something helpful to say.
Instead of storming off in a huff why not stick around and try to hear what others are hearing?
The first lesson in hearing is humility. Something we all need to keep in mind.
Old 1 week ago
  #4118
Lives for gear
 
wagtunes's Avatar
 

Quote:
Originally Posted by Zyzygis View Post
Why does it have to be so over the top?
Just because you ‘don’t have the ears’ doesn’t mean you have no value here. The value you give to it is dependent on your agenda. If you are able to listen and learn then it has value, it gives us all value when we help each other, that means accepting help when it is offered rather than becoming defensive and dismissive of other’s attempts to help.
I have to learn to hear again and again just like I have to learn my monitors or phones and make adjustments for frequency biases etc.
The great thing about being here is that you can be here and not be in the way, but listen, learn and then contribute when you have something helpful to say.
Instead of storming off in a huff why not stick around and try to hear what others are hearing?
The first lesson in hearing is humility. Something we all need to keep in mind.
How's this for humility?

I watch and listen to COUNTLESS videos on mixing and mastering. I don't know how to use a plugin, I go watch tutorials on how to use the plugin.

And every time I hear the "instructor" turn some dial or flip some switch or whatever the hell it is they're doing and say "That's a nice bit of saturation there" or "That made the snare pop just a little bit more" and I don't hear a friggen thing, I end up saying to myself "Am I really this ****ing stupid?"

I got so frustrated by the whole thing that I opened up a thread at KVR (I can post the link if you want) asking what the hell was wrong with me that I can't hear this ****.

Some people said it's not me. That there's nothing to hear. That it's just magic pixie dust. Others said there IS something to hear but it takes a long time to train yourself to hear these subtle things. Well I've been doing this for over 40 years. If I can't hear this stuff by now I'm not going to given my ears are only going to get worse with time.

And no, I'm not learning anything here. You telling me that my snare needs this or my bass needs this or my strings need this or whatever, when i can't for the life of me hear what it is you're hearing that you're criticizing as making the mix not as good as it can be, doesn't help me if I can't hear it myself. I can blindly make changes to stuff but I'm just taking shots in the dark. And that's why I resist making changes to my tracks because when you point out something I'm sitting here scratching my head saying to myself "WTF is he hearing." It's frustrating and I don't want to spend countless weeks making blind changes to a track "hoping" I stumble onto the right knob twist. It's only going to make me hate doing this.

But NONE of this has anything to do with my comment to Kane. I genuinely felt there was nothing wrong with his track. And given the only thing your yourself criticized was the snare during the vocals, maybe I wasn't that far off in left field. I mean it's not like his track was a train wreck. It's sure a hell of a lot more professional sounding than anything I've ever done or WILL do. How's that for some more humility? I know I'm not very good at this. That's why I don't want to spend 2 years on a track like you do. Believe me, I admire the hell out of your work ethic. But it's NOT for me. I'd rather be dead than put that much time into ONE song.

So no, I really have nothing to contribute here. I can't hear properly so I can't

1) Properly critique other people's music

2) Learn to better my own music.

So really, why am I here other than to be a cheerleader and tell people "Hey, great song man!"

It's pointless. This forum doesn't need a cheerleader. It needs people who can critically evaluate the songs of others and people who can hear the problems that are presented to them and make the necessary corrections without having to "guess" at it.

And that's why I don't see the point of my staying here.

Plus, if I'm NOT here, I won't be pissing people off all the time.

It's a win-win for everybody involved.

You don't get aggravated and I don't get frustrated because I can't hear the corrections that people are making on my music.

I don't think I can be any clearer about any of this than that.
Old 1 week ago
  #4119
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by wagtunes View Post
How's this for humility?

I watch and listen to COUNTLESS videos on mixing and mastering. I don't know how to use a plugin, I go watch tutorials on how to use the plugin.

And every time I hear the "instructor" turn some dial or flip some switch or whatever the hell it is they're doing and say "That's a nice bit of saturation there" or "That made the snare pop just a little bit more" and I don't hear a friggen thing, I end up saying to myself "Am I really this ****ing stupid?"

I got so frustrated by the whole thing that I opened up a thread at KVR (I can post the link if you want) asking what the hell was wrong with me that I can't hear this ****.

Some people said it's not me. That there's nothing to hear. That it's just magic pixie dust. Others said there IS something to hear but it takes a long time to train yourself to hear these subtle things. Well I've been doing this for over 40 years. If I can't hear this stuff by now I'm not going to given my ears are only going to get worse with time.

And no, I'm not learning anything here. You telling me that my snare needs this or my bass needs this or my strings need this or whatever, when i can't for the life of me hear what it is you're hearing that you're criticizing as making the mix not as good as it can be, doesn't help me if I can't hear it myself. I can blindly make changes to stuff but I'm just taking shots in the dark. And that's why I resist making changes to my tracks because when you point out something I'm sitting here scratching my head saying to myself "WTF is he hearing." It's frustrating and I don't want to spend countless weeks making blind changes to a track "hoping" I stumble onto the right knob twist. It's only going to make me hate doing this.

But NONE of this has anything to do with my comment to Kane. I genuinely felt there was nothing wrong with his track. And given the only thing your yourself criticized was the snare during the vocals, maybe I wasn't that far off in left field. I mean it's not like his track was a train wreck. It's sure a hell of a lot more professional sounding than anything I've ever done or WILL do. How's that for some more humility? I know I'm not very good at this. That's why I don't want to spend 2 years on a track like you do. Believe me, I admire the hell out of your work ethic. But it's NOT for me. I'd rather be dead than put that much time into ONE song.

So no, I really have nothing to contribute here. I can't hear properly so I can't

1) Properly critique other people's music

2) Learn to better my own music.

So really, why am I here other than to be a cheerleader and tell people "Hey, great song man!"

It's pointless. This forum doesn't need a cheerleader. It needs people who can critically evaluate the songs of others and people who can hear the problems that are presented to them and make the necessary corrections without having to "guess" at it.

And that's why I don't see the point of my staying here.

Plus, if I'm NOT here, I won't be pissing people off all the time.

It's a win-win for everybody involved.

You don't get aggravated and I don't get frustrated because I can't hear the corrections that people are making on my music.

I don't think I can be any clearer about any of this than that.
Ok, that’s a lot of stuff to try and deal with, but I will try and give you some tips that I have found helpful over the years.
Firstly I have to say that your cheerleading role has been absolutely valuable to this thread, we all need someone to give us some encouragement. Remember that many of us are working in a vacuum, in bedroom studios with no other input apart from this, so your encouragement is very welcome indeed.
The hearing thing...it has taken me years to begin to discern subtle effects like saturation and compression in other mixes and hours of playing with plugins to understand the effects in my own work. I still struggle with getting these things right in my mixes and usually end up over cooking everything and having to dial it all back. That’s ok because I am learning by my mistakes.
Often it’s a matter of knowing what to listen for and focusing the ear on that area, I find that listening at very low volumes helps me to do this.
I have some hearing loss at frequencies over 16K so I have to be careful not to overdo the highs, I use a spectrum analyser to help me and compare with pro mixes to guide me.
There are always ways to improve listening techniques and you have certainly done that in the time I have been active here. You need to practice being patient with yourself and not get too stressed when you can’t hear things that others can.
In the example of Kane’s track, everything else sounded balanced to me and that made the snare sound too pronounced and pushing out in front of the vocals.
It might seem like a small thing, but it would be a shame to let it slip through when it could be fixed so easily. This was a case when when ‘nit picking’ was crucial to a more successful mix. That decision will make the mastering much easier as the snare occupies such an important position in the mix.
I usually level the vocal and the snare together very early on in mixing and fit everything else around this balance as this is usually where the mix has to cut through the most.
I think part of your problem is the speed at which you work which doesn’t allow for much critical appraisal. I often work for a long time on a mix, but while I might leave it and go back to it I will be working on other tracks, writing new songs and painting pictures in the meantime, so I am not just obsessing over one track, although that can become a problem if I am not careful.
In the end every mix is a matter of stabbing in the dark and a million little tweaks in various combinations.
You could try having a track or two like a sketch pad to try things out, which you leave and come back to at will to try different things and train your ears. You might be surprised at what you CAN hear when you are not under pressure to finish and release and where it really doesn’t matter if you make a mess.
Old 1 week ago
  #4120
Lives for gear
 
wagtunes's Avatar
 

Quote:
Originally Posted by Zyzygis View Post
Ok, that’s a lot of stuff to try and deal with, but I will try and give you some tips that I have found helpful over the years.
Firstly I have to say that your cheerleading role has been absolutely valuable to this thread, we all need someone to give us some encouragement. Remember that many of us are working in a vacuum, in bedroom studios with no other input apart from this, so your encouragement is very welcome indeed.
The hearing thing...it has taken me years to begin to discern subtle effects like saturation and compression in other mixes and hours of playing with plugins to understand the effects in my own work. I still struggle with getting these things right in my mixes and usually end up over cooking everything and having to dial it all back. That’s ok because I am learning by my mistakes.
Often it’s a matter of knowing what to listen for and focusing the ear on that area, I find that listening at very low volumes helps me to do this.
I have some hearing loss at frequencies over 16K so I have to be careful not to overdo the highs, I use a spectrum analyser to help me and compare with pro mixes to guide me.
There are always ways to improve listening techniques and you have certainly done that in the time I have been active here. You need to practice being patient with yourself and not get too stressed when you can’t hear things that others can.
In the example of Kane’s track, everything else sounded balanced to me and that made the snare sound too pronounced and pushing out in front of the vocals.
It might seem like a small thing, but it would be a shame to let it slip through when it could be fixed so easily. This was a case when when ‘nit picking’ was crucial to a more successful mix. That decision will make the mastering much easier as the snare occupies such an important position in the mix.
I usually level the vocal and the snare together very early on in mixing and fit everything else around this balance as this is usually where the mix has to cut through the most.
I think part of your problem is the speed at which you work which doesn’t allow for much critical appraisal. I often work for a long time on a mix, but while I might leave it and go back to it I will be working on other tracks, writing new songs and painting pictures in the meantime, so I am not just obsessing over one track, although that can become a problem if I am not careful.
In the end every mix is a matter of stabbing in the dark and a million little tweaks in various combinations.
You could try having a track or two like a sketch pad to try things out, which you leave and come back to at will to try different things and train your ears. You might be surprised at what you CAN hear when you are not under pressure to finish and release and where it really doesn’t matter if you make a mess.
I wanted to give you the courtesy of knowing that I did read your response. I felt I owed you that much. I know you're just trying to help. And of all the people here, I can honestly say that you are the most helpful as far as the critiques you make on each person's music, whether or not they want to take your advice. I can't do what you do. And to try to pretend by throwing out stupid stuff like "I think the vocal needs some notch Q around 550" is disingenuous at best and downright reckless at worst when I really don't now what the hell I'm talking about. So the best I can do is "I like the song, sounds fine" or "I don't like the song" which I'll never do anymore. If I have nothing nice to say I won't say anything.

All I know is right now I need a break away from this place. And then I need to decide what I want to do from this point on. Do I truly just make music for myself or do I try to make music for others and genuinely take criticism, even if it's hard to hear?

If I'm honest, it's probably going to be the former, which is ridiculous when you think about it because I truly want to get better at this. But if I could hear the problems on my own, I wouldn't need to come for help in the first place. I'm here because I can't hear the problems but I can't hear the problems when they're pointed out to me anyway. It's actually laughable when you think about it. It's like a blind man trying to get a tutor to teach him how to drive.

Whatever I ultimately decide, this forum needs some peace and quiet right now. So that's what I'm going to give it. I'll be finishing my CD sometime in December. Believe it or not, I have been working on this for 40 days already. That's a long time for me. I won't bother posting the rest of it. Everybody knows where my Soundcloud channel is. If they want to hear it, it'll be there. Just look for playlist "Gates Of The Lord"

Have a good evening.

See you probably after the New Year.

I'll know by then what I want to do.
Old 1 week ago
  #4121
Lives for gear
Wag, like I have always said, your comments on song structure, melody and lyrics etc are valuable. When you simply say "good song", that is enough to know that it's a decent song, as you have studied song writing and that is your main focus. As for you saying about the mix "all sounds good to me, nothing horrible" that too is helpful, as it tells me that even if I fail at addressing the more in depth suggestions that others will make, they mix will still be good enough to present to people.

With regards to your own mixes. If you can't hear something to make the adjustments people are saying, why not say that and ask for real specific suggestions, so if someone says "horns need more mid", ask them which frequency range they feel will benefit from a lift as you can't tell. Then if they say around 3-4K or whatever, try it and if you can't hear the difference, or tell if you like it more than it was, if it has not made it worse in your opinion, post it again and say "is that better"?

I will often do that, if someone says "vocals need more air", even if I feel they are ok as they are, I give them more air and as long as I don't think they sound worse than how I had them before, or if I can't tell much difference in the mix, I'll leave them with more air to satisfy other peoples ears. However, if I think, "no, I really wanted these vocals darker", then I'll remove the air.

You don't have to be able to hear everything to make adjustments. I have hearing damage and so don't always trust my ears. I have people I ask (not all on this forum) to tell me if there are any issues etc. Even if I can't hear them, I will try to make EQ alterations etc based on their observations and suggestions and I usually alter something until I hear the effect, then back it off a notch and then play them it again and they say "that's better" even though to me, I can't even hear it.

Just on my remix of "Life". My mastering guy sent me his master and I could hear distortion in the chorus. I asked him to check with the caveat that it could be my ears, as if there is a lot going on at the same time, my ears can't differentiate sounds and they can react quite strangly with ringing and noises etc. He checked it and shaid there was no distortion and that he thinks it was the clav I was hearing as distortion. Now I simply had to trust him, as I know his ears are better than mine, as well as his monitoring and analysis gear.

So, in a nutshell, don't think that your advice and comments are useless, as they are not and don't think others' mix suggestions on your tracks are useless because you can't hear what they hear or are unsure how to address them, as they are not.

When I make music, I too am making it for myself. I'm never thinking of commerciality, how ever, I am wanting an audience. I'm not trying to create something really new and exciting, my stuff is meant to be reminiscent of the past, but nor am I trying to sound like anything or anyone in particular and I hope that although my stuff may be clearly like XY & Z that it is also still "Kane". With regards to the mix, I'm happy to make changes based on other people consensus, as the mix is something I usually have much less of a vision of anyway. If one person says "bongos are too quiet" but 10 others tell me the bongos are fine, I'll leave the bongos alone or possibly try them .2dB louder, which may just be enough to satisfy that one guy (which may equate to 1 in 11 listeners also appreciating that tiny lift?)without anyone else or myself even noticing.
Old 1 week ago
  #4122
Lives for gear
 
wagtunes's Avatar
 

Quote:
Originally Posted by Mr Funk View Post
Wag, like I have always said, your comments on song structure, melody and lyrics etc are valuable. When you simply say "good song", that is enough to know that it's a decent song, as you have studied song writing and that is your main focus. As for you saying about the mix "all sounds good to me, nothing horrible" that too is helpful, as it tells me that even if I fail at addressing the more in depth suggestions that others will make, they mix will still be good enough to present to people.

With regards to your own mixes. If you can't hear something to make the adjustments people are saying, why not say that and ask for real specific suggestions, so if someone says "horns need more mid", ask them which frequency range they feel will benefit from a lift as you can't tell. Then if they say around 3-4K or whatever, try it and if you can't hear the difference, or tell if you like it more than it was, if it has not made it worse in your opinion, post it again and say "is that better"?

I will often do that, if someone says "vocals need more air", even if I feel they are ok as they are, I give them more air and as long as I don't think they sound worse than how I had them before, or if I can't tell much difference in the mix, I'll leave them with more air to satisfy other peoples ears. However, if I think, "no, I really wanted these vocals darker", then I'll remove the air.

You don't have to be able to hear everything to make adjustments. I have hearing damage and so don't always trust my ears. I have people I ask (not all on this forum) to tell me if there are any issues etc. Even if I can't hear them, I will try to make EQ alterations etc based on their observations and suggestions and I usually alter something until I hear the effect, then back it off a notch and then play them it again and they say "that's better" even though to me, I can't even hear it.

Just on my remix of "Life". My mastering guy sent me his master and I could hear distortion in the chorus. I asked him to check with the caveat that it could be my ears, as if there is a lot going on at the same time, my ears can't differentiate sounds and they can react quite strangly with ringing and noises etc. He checked it and shaid there was no distortion and that he thinks it was the clav I was hearing as distortion. Now I simply had to trust him, as I know his ears are better than mine, as well as his monitoring and analysis gear.

So, in a nutshell, don't think that your advice and comments are useless, as they are not and don't think others' mix suggestions on your tracks are useless because you can't hear what they hear or are unsure how to address them, as they are not.

When I make music, I too am making it for myself. I'm never thinking of commerciality, how ever, I am wanting an audience. I'm not trying to create something really new and exciting, my stuff is meant to be reminiscent of the past, but nor am I trying to sound like anything or anyone in particular and I hope that although my stuff may be clearly like XY & Z that it is also still "Kane". With regards to the mix, I'm happy to make changes based on other people consensus, as the mix is something I usually have much less of a vision of anyway. If one person says "bongos are too quiet" but 10 others tell me the bongos are fine, I'll leave the bongos alone or possibly try them .2dB louder, which may just be enough to satisfy that one guy (which may equate to 1 in 11 listeners also appreciating that tiny lift?)without anyone else or myself even noticing.
Not wanting to be rude, acknowledging that I read this as you put so much time and thought into it. Everything you say makes perfect sense. Now I just have to go and decide where my priorities lie. And to do that, I need time away.

See you all after the New Year.
Old 1 week ago
  #4123
Lives for gear
OK, final upload of this track I promise (i will post the mastered version). I lifted the synth bass and horns in the vocal gaps and lowered the snare and also brightened up the whole track.

I think I am happy with it now.
Old 1 week ago
  #4124
Lives for gear
Quote:
Originally Posted by Mr Funk View Post
OK, final upload of this track I promise (i will post the mastered version). I lifted the synth bass and horns in the vocal gaps and lowered the snare and also brightened up the whole track.

I think I am happy with it now.
Already spotted that my vocal needs to come up half a dB and Jo's down half a dB.
Old 1 week ago
  #4125
Lives for gear
 
Zyzygis's Avatar
 

Quote:
Originally Posted by Mr Funk View Post
OK, final upload of this track I promise (i will post the mastered version). I lifted the synth bass and horns in the vocal gaps and lowered the snare and also brightened up the whole track.

I think I am happy with it now.
It sounds great Kane! Very pleasing on the ears and nicely balanced. Your vocal just needs a little more upper mid to balance with the clarity of the female harmony.
Arrangement is top notch with enough complexity to keep me listening and want to go back and hear it again.
Well done man!
Old 1 week ago
  #4126
Lives for gear
Quote:
Originally Posted by Zyzygis View Post
It sounds great Kane! Very pleasing on the ears and nicely balanced. Your vocal just needs a little more upper mid to balance with the clarity of the female harmony.
Arrangement is top notch with enough complexity to keep me listening and want to go back and hear it again.
Well done man!
Damn, already sent this for mastering, but will live with the upper mids being a bit recessed.

My mastering guy (also a great composer and friend) said that the whole track has too much of everything, too many notes going on, too busy for his tastes. But I'm glad nobody else has said this as well.
Old 1 week ago
  #4127
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Zyzygis's Avatar
 

Quote:
Originally Posted by Mr Funk View Post
Damn, already sent this for mastering, but will live with the upper mids being a bit recessed.

My mastering guy (also a great composer and friend) said that the whole track has too much of everything, too many notes going on, too busy for his tastes. But I'm glad nobody else has said this as well.
Well complexity is a matter of taste. I love it when it serves the song and creates a coherent whole but it needs a fine ear to make more than three or four melodic elements work together.
FWIW Mozart was criticised for exactly the same thing in his day, so you are in very good company.
Old 1 week ago
  #4128
Lives for gear
Quote:
Originally Posted by Zyzygis View Post
Well complexity is a matter of taste. I love it when it serves the song and creates a coherent whole but it needs a fine ear to make more than three or four melodic elements work together.
FWIW Mozart was criticised for exactly the same thing in his day, so you are in very good company.
Wow, I'll take that as the best compliment I've ever had!
Old 1 week ago
  #4130
Lives for gear
Old 6 days ago
  #4131
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Zyzygis's Avatar
 

Quote:
Originally Posted by Mr Funk View Post
As promised, the mastered version. Mastered at POLY MASTERING

Very nice!
Old 2 days ago
  #4132
Gear Nut
 

Old 2 days ago
  #4133
Lives for gear
Quote:
Originally Posted by Mr Funk View Post
As promised, the mastered version. Mastered at POLY MASTERING

I like your mixes, very modern sounding with punchy dynamics and they sound very balanced. I can hardly pick fault with them if at all..

Although the one area you seem to struggle with is vocals, you have this very upfront sounding modern large mix with a slightly unclear / recessed / narrow vocals..

There's a lot of tricks regarding vox though and you do kinda need to the right stuff to get it right.

I think I gave you some tips before, although again if you ever want me to have a crack at it I can make them really shine. ..!
Old 1 day ago
  #4134
Lives for gear
Quote:
Originally Posted by ShadowAMD View Post
I like your mixes, very modern sounding with punchy dynamics and they sound very balanced. I can hardly pick fault with them if at all..

Although the one area you seem to struggle with is vocals, you have this very upfront sounding modern large mix with a slightly unclear / recessed / narrow vocals..

There's a lot of tricks regarding vox though and you do kinda need to the right stuff to get it right.

I think I gave you some tips before, although again if you ever want me to have a crack at it I can make them really shine. ..!
Hey thanks. I will take you up on that offer next track. I do remember your tips.
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