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Mixoff 2010
Old 7th March 2011
  #181
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Slater05's Avatar
So I'm well aware that this mixoff is a year old. But the song sounded fun so I couldn't resist haha.


As it is so old I'm not exactly expecting a lot of feedback. But if anyone feels inclined to say anything than I'm all ears.


Last edited by Slater05; 7th March 2011 at 11:46 AM.. Reason: typo
Old 18th May 2011
  #182
Gear Addict
 
rolo95's Avatar
 

Quote:
Originally Posted by Andreas G View Post
Finally I found the time to finish the mix :-)
Hey Andreas your buss compressor is pumping too much...
Old 18th May 2011
  #183
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rolo95's Avatar
 

Quote:
Originally Posted by Slater05 View Post
So I'm well aware that this mixoff is a year old. But the song sounded fun so I couldn't resist haha.


As it is so old I'm not exactly expecting a lot of feedback. But if anyone feels inclined to say anything than I'm all ears.

Haaaaaa...
nice song uh ?

will take a look at it soon

Rolo.
Old 20th May 2011
  #184
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MikeTSH's Avatar
Yeah it's ages ago but I gave it a shot
Attached Files

ridingredroute.mp3 (7.10 MB, 332 views)

Old 6th June 2011
  #185
dmm
Gear Head
 

A bit late.Inspired by the nice bottom end of the mix that Studjo put up. Which was impressive btw. Prob need a Harrison console for that,though!Thanks for uploading the tracks Olof. Any feedback on the mix and how its translating on other systems would be sweet.
Attached Files

Driving On A Red Route DMM Mx.mp3 (4.22 MB, 362 views)

Old 6th June 2011
  #186
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studjo's Avatar
 

Hey Dmm

what a great mix - I'm floored. Actually I quite like your low end. It might drive the bus compressor a tiny bit too much. I can really "see" through your mix - very fine tuned! The arrangement makes total sense!

Jo
Old 8th June 2011
  #187
dmm
Gear Head
 

Quote:
Originally Posted by studjo View Post
Hey Dmm

what a great mix - I'm floored. Actually I quite like your low end. It might drive the bus compressor a tiny bit too much. I can really "see" through your mix - very fine tuned! The arrangement makes total sense!

Jo
Thanks for the good vibes and input!
Old 14th March 2014
  #188
Gear Nut
 
mik123's Avatar
Driving on a red route mik123

Hi!


My mix!





Thanks for listening!
Old 16th March 2014
  #189
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Spede's Avatar
 

Hi! Another late to the partier here I did this mix yesterday, then slept over it.

I added a snare sample next to the original and some vocal harmonies for the chorus (and a vocal delay hook of which I'm very proud of). Lots of the instruments got a whole lotta processing. Compression, saturation and more compression

I felt the guitar plucks at the end of the choruses were really important so I did what I could to emphasize them. Kinda gave this song a Police vibe.
Attached Files
Old 13th December 2019
  #190
Hey all, hope you don't mind me necro-bumping this nearly decade-old thread. I recently dug up these multitracks on an old hard drive and took another stab at mixing this. (I had given it a try years ago and given up in frustration). It was mixed OTB on a console. Singer's voice reminded me of Per from Roxette so I was shooting for Joyride-era Roxette meets big 80s Bryan Adams Clearmountain sound (think "One Night Love Affair").

Would really love any feedback. The original multitracks and mix are long gone which is a shame because Olof's mix was by far the best.
Attached Files

Catherine - Red Route FINAL.mp3 (9.17 MB, 286 views)

Old 13th December 2019
  #191
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studjo's Avatar
 

Quote:
Originally Posted by locust_tree View Post
Hey all, hope you don't mind me necro-bumping this nearly decade-old thread. I recently dug up these multitracks on an old hard drive and took another stab at mixing this. (I had given it a try years ago and given up in frustration). It was mixed OTB on a console. Singer's voice reminded me of Per from Roxette so I was shooting for Joyride-era Roxette meets big 80s Bryan Adams Clearmountain sound (think "One Night Love Affair").

Would really love any feedback. The original multitracks and mix are long gone which is a shame because Olof's mix was by far the best.
Hey thanks for reminding me of a mix I did in the dark age or so. I had to go back to listen to it and didn't even remember I mixed this track ...

Regarding your mix. I think you got a nice balance going. On my crappy Sony Headphones it seems like you got quite a bit of 4 to 8k going which make the mix appear a bit thin. The acc guitars on both sides are not very even IOW they took my attention to em too much - a bit of compression might help here.
I'm not a fan of those reverb EFX (Intro, bridge before solo and in the solo - I hope I got the parts right - writting from memory)
Those are the points I'd adress ...
Old 4 weeks ago
  #192
Quote:
Originally Posted by studjo View Post
Hey thanks for reminding me of a mix I did in the dark age or so. I had to go back to listen to it and didn't even remember I mixed this track ...

Regarding your mix. I think you got a nice balance going. On my crappy Sony Headphones it seems like you got quite a bit of 4 to 8k going which make the mix appear a bit thin. The acc guitars on both sides are not very even IOW they took my attention to em too much - a bit of compression might help here.
I'm not a fan of those reverb EFX (Intro, bridge before solo and in the solo - I hope I got the parts right - writting from memory)
Those are the points I'd adress ...
Hey Jo, thanks for the feedback. Yours was one of my favorite mixes - love the fat snare sound you got. Some of the mid congestion you talk about was coming from a "mastering" EQ I threw on after the mix so that will be the first thing I look at (I am working on this during days off between paying gigs, hence the delay getting back to you). Good ear on the acoustic guitar - the culprit was an outboard chorus whose outputs were leaning to the left, causing an apparent gain increase on the left side. They are also just need more compression as you said.

All that aside, my biggest takeaway from this mix (and I mean no offense to Olof, who really did a stupendous job considering everyone's age) is that the arrangement is everything when it comes to mixing! There is no EQ in the world that can untangle the kind of frequency masking you will get when the guitars, key pads, organs etc are all playing the same inversions, of the same chords, in the same octave register! Worse yet if the soprano voice of those inversions is stepping on the lead vocal. Look at the number of mixers in this thread who talk about muting or stripping out whole sections of certain instruments - this is a huge red flag that the moving parts in the arrangement don't play nice with one another.

In a real paying client situation muting tracks is an absolute last resort and you will always run the risk of a confused, angry phone call because the dumb synth or sloppy guitar part you muted was somebody's "baby" or their favorite part of the song. I know there were no hard and fast rules but I tried to the best of my ability to work with the arrangement as if it were a paying job.
Old 2 weeks ago
  #193
Lives for gear
I love old stuff a lot, because the debate about its details can be very instructive.
OTOH I have to ask, what's the purpose, where does one want to go, when working on it.
Today, a lot of little issues are not tolerated any more, as there are more techniques available for less money.
General taste is more on the pristine side, using the most modern soft synths. (listen to the music videos by BLACKPINK, one of the best selling k-pop groups)
So, here we have more of a vintage sound, even more vintage than studjo back then.
If there are real clients today for this kind of work, probably the mannerism and favoritism for some track elements will be massive.
Risky job, that must take into account knowledge about the purpose and particular target audience.

Otherwise, I would just switch to the most recent techniques, including "trackspacer" stuff, that just cuts its way into imperfect arrangements, when needed.
Lots of saturation and valve emulation (but consider to avoid these Aphex Exciter types, that deliver the notorious 8k sharpness that becomes so hissy on the smartphones), very little reverb except those spooky spectral processors, etc..

I think, vocals can afford more automation, especially vocal reverbs, that come a bit ubiquitous and foggy. Some vocal parts might deserve a bit more clarity and closeness. Sibilants are vintage, too, like in the vinyl single records. So, it may be cult, or it may be nuisance..
Snare reverb with such width somehow makes the width of the guitar bus obsolete. You might try some M/S compression tricks on the guitar bus, and separate the snare reverb into a tight mono component, and some room fill that complements the guitars. There is some snare body missing, this may be friendly to the genre, though. I sometimes use an exotic saturating compressor TLs_SaturatedDriver in a mult, that gives a fat boom to the snare (or kick).

Nice and skillful, the vibe is there, just the critique assumes it pops up in a general playlist in the car stereo.

Last edited by NeoVXR; 2 weeks ago at 05:57 PM..
Old 2 weeks ago
  #194
Hey thank you, great ears and advice. You are correct that I'm consciously chasing an older sound, and I'm fully aware this requires a certain type of source material, songwriting, arrangement which has now become very "niche"...

Without getting too far off on a tangent... if this makes me less comercially competitive so be it; I have many other revenue streams to lean on and the economic situation within the music industry has made everyone paralyzed and risk-averse, including my own heroes, the old masters who once made fantastically wide, spacious and clear mixes and who now tow the line with squashed pitch corrected vocals floating miles over the mix, sample replaced drums, no ambient miking or spaciousness or anything to push the talent off the frontal plane between the speakers, everyone just STUCK there against some imaginary pane of glass with their faces all squished. I have no interest in achieving this sound personally, I wish to see the industry change and this won't come about unless freelancers with nothing to lose can entice younger talent to consider trying something different (which is simply the "slick and polished" sound of 30 years ago).

Quote:
Originally Posted by NeoVXR View Post
Otherwise, I would just switch to the most recent techniques, including "trackspacer" stuff, that just cuts its way into imperfect arrangements, when needed.
Lots of saturation and valve emulation (but consider to avoid these Aphex Exciter types, that deliver the notorious 8k sharpness that becomes so hissy on the smartphones), very little reverb except those spooky spectral processors, etc...
I am unfamiliar with the term "trackspacer", does this refer to reverse swells and other ear-grabber transitional sounds?

I agree about the vocal getting pulled under at times, he loses a great deal of power in his low range and it was difficult to ride those segments up without it sounding like a fader ride. I honestly wish I could implement some of your advice but I tore the mix down almost 2 weeks ago and didn't take down recall sheets, so it would be a different mix entirely. I do appreciate you taking the time, cheers.
Old 2 weeks ago
  #195
Lives for gear
there is a plugin called trackspacer.
you can route a simpler form yourself.

get a multiband comp with accessible sidechain.
choose 3 frequencies in the vocals, that should be heard. tune 3 bands to these ranges. (depending on singer, bass, mid, presence..)
given there is a wall of rock guitar sounds, insert the multiband into the guitar bus.
feed the sidechain from the vocals, and tune sensitivity.
you might get away with having the multiband attenuate ~2dB or even less, without disturbing the guitars too much.
the vocals will get through a lot better than before.
ITB I use TDR Nova for this purpose. it is very transparent.
a linear phase multiband might be even less audible, but for some sounds it might create "dispersion", or smearing of transients.
Old 1 week ago
  #197
Quote:
Originally Posted by neurodrive View Post
A solid attempt, here are my thoughts. I'm getting a strange aliasing / bitcrushing distortion in the high end, perhaps your mix bus is clipping or something was not dithered properly or both. Kick and snare are solid but toms sound like they have been muted completely. Kick also drops out during the big drum break before the guitar solo - perhaps a gate clamping down too hard? Many tracks appear to have been muted or stripped out (I am not hearing organ, clean guitar, acoustic guitar, string pads) so there is a nice garage-rock grittiness from the tracks that remain, but no real sense of movement between the parts i.e. chorus 1 sounds like chorus 2 sounds like the bridge section etc. You might try bringing in the "pretty" elements like the acoustic guitar strums in the post-bridge to match the tenderness of the lyrics ("I love you and I'll cry from heaven if that's the place where I will stay" etc). High end on the vocal may be a bit overcooked. Stereo rhythm guitars feel a bit dry, close and peaky, maybe compress them harder or go for a dirtier tone.

I am digging the claustrophobic 70s room sound on the solo and fill guitars. Still, you really notice a clipping when they come in (either individual tracks or the whole mix bus). The foundation is definitely there and you feel some good rhythmic drive; I'd like to see where it goes! Cheers
Old 1 week ago
  #198
Gear Nut
 

Quote:
Originally Posted by locust_tree View Post
A solid attempt, here are my thoughts. I'm getting a strange aliasing / bitcrushing distortion in the high end, perhaps your mix bus is clipping or something was not dithered properly or both. Kick and snare are solid but toms sound like they have been muted completely. Kick also drops out during the big drum break before the guitar solo - perhaps a gate clamping down too hard? Many tracks appear to have been muted or stripped out (I am not hearing organ, clean guitar, acoustic guitar, string pads) so there is a nice garage-rock grittiness from the tracks that remain, but no real sense of movement between the parts i.e. chorus 1 sounds like chorus 2 sounds like the bridge section etc. You might try bringing in the "pretty" elements like the acoustic guitar strums in the post-bridge to match the tenderness of the lyrics ("I love you and I'll cry from heaven if that's the place where I will stay" etc). High end on the vocal may be a bit overcooked. Stereo rhythm guitars feel a bit dry, close and peaky, maybe compress them harder or go for a dirtier tone.

I am digging the claustrophobic 70s room sound on the solo and fill guitars. Still, you really notice a clipping when they come in (either individual tracks or the whole mix bus). The foundation is definitely there and you feel some good rhythmic drive; I'd like to see where it goes! Cheers
hello
thanks for the words

mix v2 with alot of tweaks, toms(found them hah), and completely different sounding.

https://drive.google.com/open?id=1OX...hAVKWf7IC8sv1S
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