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My first mix (be prepared) Studio Monitors
Old 13th February 2019
  #1
Here for the gear
 

My first mix (be prepared)

Hi all!
Looong time lurker, first time poster. Glad I took the plunge and became a part of the community!

I'm currently working on my first project which has a lofi/shoegaze/trip-hop vibe. The lyrics are on Croatian so don't bother understanding them. The idea was to create something groovy but bleak.

I'm mixing using JBL 305's in an untreated room. Everything was recorded in not-so-great conditions. Well, you get the picture, the classic "I wan't to record my music and I don't know how but it doesn't matter, wait, why does this sound so crappy?".

I'm willing to learn as much as I can from you guys.

Thanks a bunch!
Attached Files

kaliko_radno_8.mp3 (5.68 MB, 190 views)

Old 14th February 2019
  #2
Gear Nut
Welcome Frets! I'm probably the last person you want giving advise as I am learning about mixing myself but I'd start by high passing (cut the bottom freqs off) of most of the tracks that don't have critical low end content. Repost the results and hopefully others will chime in. Also, dial back the reverb on any instrumental tracks a notch. I don't know anything about this genre of music but hopefully this would be a small step in the right direction.
Old 14th February 2019
  #3
Here for the gear
 

Quote:
Originally Posted by pdiddy View Post
Welcome Frets! I'm probably the last person you want giving advise as I am learning about mixing myself but I'd start by high passing (cut the bottom freqs off) of most of the tracks that don't have critical low end content. Repost the results and hopefully others will chime in. Also, dial back the reverb on any instrumental tracks a notch. I don't know anything about this genre of music but hopefully this would be a small step in the right direction.
Hey Pdiddy, thanks for the reply!

I've already HP-ed al the guitars, synths and vocals (cutting lows from about 150 Hz down). My drum room mics are compressed and heavily present in the mix but I didn't HP them because I didn't want to lose the sweet low end of the kick in those mics.

I by myself can hear a lot of build up in the low mids and not so much information in the highs. Maybe my arrangement just sucks which leads to a build up in that area?

I wouldn't dial back too much of the reverb because it's kind off a signature FX of this kind of genre but I'll experiment with your advice!
Old 4 weeks ago
  #4
Here for the gear
 

Anyone?
Old 4 weeks ago
  #5
Gear Maniac
 
Bart Nettle's Avatar
Plenty of goodness in this track Awesome first try!
I can only critique the fuzz wash over everything in the low mids undefines the parts. Both the vocals and the guitar parts, especially guitar parts are lost in the effect especially when the accompaniment comes in denser.
That hold feature on the reverb might work just on it's own.

The Guitar parts could be introduced cleaner in the mix earlier on and drenched in the reverb effect slighly later with a gate to prevent the reverb trailing into the next phrase.
Vocal sounds like it is sitting back and made to fit in with everything else. Possibly bring it to the fore a bit more with some deessing and make the remaining instruments fit with it as it is the accompaniment.
Drums sound great but that distortion fuzz too much in some parts.
The song soothes!
Old 4 weeks ago
  #6
Lives for gear
Harsh vocals, but i like the tune and the tones.
Old 4 weeks ago
  #7
Here for the gear
 

@Bart Nettle:
Thank you Bart! So I was right something funky was happening in the low mids. There's no fuzz effect over the parts you mentioned, just a tad of saturation. I think I made the mistake in the recording phase where I recorded the vocals to hot and the guitars with way much overdrive so I lost the ability to tweak the amount of overdrive as the song evolves with plugins.
Is there I chance I could carve the low mids area of each instrument heavy in that freq information in hope of giving each instrument (esp. vocals and guitar) more space to be heard?
A thank you for the reverb advice, I will try it.

@joecandy:
Thanks for the reply! Yeah, now you mentioned they are quite harsh. I believe it's because I recorded them too hot with a cheap ART preamp. Is there a way I could level down that harshness a bit in this scenario?

F
Old 4 weeks ago
  #8
Gear Maniac
 
Bart Nettle's Avatar
Your welcome mate!
I understand, what is recorded is what you got and the problem you got from bleed and phase issues.
It really is not a good way to start a mix on. It really is the dog that chased it's tail.
You could try phase switching track by track and various combinations to minimize it a bit.

It is advisable not to solo tracks to EQ them.
S***** harshness exists between 2 to 3khz.
Tubby mids is around 300hz and a buildup problem with multiple mics in a small room.

A good mix is when each part exists in it's own space and there is little clashing of frequencies (where one instrument wipes out another) especially for instruments of a like timbre or multiple reverbs.
But, I won't deny that magic can occur when certain timbres interact! You just don't want one instrument wiping out another.

Use high pass filtering to remove low end that is not there or needed. Low pass for treble not there or needed too.

You might try and see if you can get the vocals de essed to remove sibilance around 6 to 8khz and female vocals can stand a slight bump around 11k to add air. You can add some broad upper mid boost around the 1khz to bring the vocals up.

The guitar can also benefit from a slight lift around 4 or 6 khz but roll off the low end and make space for the vocals with a slight broad mid cut as it is a wide broadband instrument.

When using reverb, EQ out the low end mud and usually the hi end is rolled off.
You can get away with filling in the harsh frequencies with it to add a smoothness in that area of the mix. Best done on a track by track (not soloed) basis and less is more.

But some instruments sparsely played can benefit from creative delays , chorus and reverbs.
You can really change the timbre of a track if needed. Less is more especially when the effect doesn't wipe out the instrument or another.

Selectively causing a clash in the harsh areas of a track or mix is a trick not so easy to get at mixdown when you want it and possibly one of the less known reasons why some like to double track and hard pan. It softens the harshness at the expense of thinning it in mono.

Saturation will fuzz if overdone and you can EQ it as well if the fuzz is pleasing in a portion of the frequency of the track. It can help get a little more apparent volume while keeping the clarity. If a dry guitar is quite harsh and you EQ it out but loses its stridentness you can selectively saturate the harsh area only to add some harmonics and smooth the spikes out.

Hope it helps, the above are just ideas when the recording is ideal and best to get in the basics of a well balanced mix in mono first (EQ and level) before adding FX like panning, etc.

Good luck with your recording and mixing and keep at it!
Old 3 weeks ago
  #9
Here for the gear
 

I just wanted to thank you all for your help, especially Bart Nettle for the last bit.
I had a lot of trouble with dessing and I didn't succeed to bring down all the sibilance but I'm really happy with the overall product.

Here is the single online:

Fauna - Kaliko - YouTube

I'm marching toward my next single with more experience
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