Helped cowrite, produce and record this track for a Dallas-based indie pop punk band. It’s a start to finish type song, so I appreciate your steadfastness. Particularly make it to the bridge outro please.
I’d like some feedback for some future recordings I may have with them…
THANKS!
Mark/Markeux
Howdy Mark from down in Houston! 
This is sounding great! Totally pro all the way. Everything is very clear, good occupation of the stereo field, good level balance between vox and acoustic instruments. Loved it when the instrumentation got a little more filled out at 3:38, it was right where I wanted to hear something like that.
I have to say I dislike the sound of the male singer’s voice and his delivery style-- very nasally with those hard “r’s”, but hey, that’s got nothing to do with the production. 
If all your stuff is this good, bashing will be very quick! 
Nothing to bash there !
My only regret is : no bass gtr during the outro !
Congrats
I kind of like the vocal lol. But I grew up listening to a bunch of winey emo punk wanna be’s (and some good ones). Brings back old memories. I do appreciate that he’s making an honest attempt to stay on key. And he doesn’t do too bad.
Dude. I really like that big fat sloppy oversized kick at 3:34. That’s fun.
Sounds great Mark - Print it!.. oh, wait… you already did 
It’s a bit too optimistic for my taste but i liked how the song bloomed at the final chorus. This stuff is trendy nowadays, so good luck!
The EQ choices are pretty good, but it’s a little on the dry side. For vocals try a 90-150 ms predelay with reverb (I recommend valhalla room) which will keep it from mucking up the vocal when you add more reverb. I’d also lay off the compression entirely during the mastering stage. You’d be surprised, albums originally released on CD like Back in Black, Phil Collins’ Face Value, and the entire original Led Zeppelin catalog on CD (exempting four) were all released without any compression at all.
Oh yes, and Appetite for Destruction, every CD issue has absolutely zero compression during the mastering stage. To expand on that I’d like to say that many people are told that compression during the mastering stage adds punch. I believe that all the life in a recording is determined by the peaks. The greater the peaks, the greater dynamics and move lively a recording sounds. How could limiting the thing providing your recording with life give you more punch? While I completely understand that it is second nature by this point to use compression during mastering, in my opinion, it is unnecessary. Those who disagree I understand and respect your opinion as well, but to these ears, those songs don’t need it. Your ears may vary, and that’s what makes people interesting, variation.
Cheers,
Doubletrackinjive
Sub drop in an acoustic song… why not?
“Hey, it’s the 90’s”
Thanks chap!
Yeah, I really had to work on his vocal chain plus tonssss of automation. Another thing I would have changed would to have had them perform it a smidge faster. As evident in the intro and first verse.
Yeah Jason has a love it or leave it kind of voice. I like it. It’s at least appropriate for that style.
+1
Good catch
Good stuff. I really dig this stuff. I would have thought it would have been better a touch faster. There are a couple of spots that his vocal is a little hot in the high mids. Nicely done.
Sorry for the late reply. Thanks for taking a listen. +1 on the tempo. It wasnt until we were wayyy too far in that I noticed it was a little draggy. At very least it matches the unhappy lyrical content. noted however. Thanks again.
Killer chorus You could have said messed up and not lost a thing.
Paul
That was challenging for me. When the female vocal came in I liked it better. The production sounds good, but the musical style and male vocal performance is a bit of a head-scratcher.
wow this sounds pro