Finally a chance to listen for more than a quick check… yay.
While I really like most of the changes to version 2, I’m missing the opening vocal intimacy of version 1 that really hooked me in, gave me that emotional connection. It sounds great as the song unfolds but I just wondered about easing off a bit on the distortion for that opening phrase? It’s a gorgeous song, some wonderful imagery “a newly abandoned stepchild has been born…” love it.
Love the seamless snap of the drums and some tasty keys tucked away in there for ear candy…
At 2.26, there was a moment, just before ‘some say that’s progress’ where I just heard a moment… hmmm, how to describe? It felt like a possible build-moment where some sound could happen to give a quick pause/shake? in the development to give a slight additional emphasis to “some say that’s progress”.
Gosh, listening between the two mixes you have done some great improvements to the clarity/richness of version 2… cool stuff. Great to hear new fresh sounds… I’m caught in very busy work/life no studio time so it’s wonderful to hear this and remember that other elusive part of my life… thanks!!
Superb song! got a top gun dangerzone vibe from the guitar, which was cool. Comparing the two versions, the bass response on the guitar chords was better in your previous mix, the new one is a wee bit too thin. I would personally prefer the “bass and crunch” to come out more. I grew up in a guitar jamming house lol. I am a big fan of guitars rockin da house!
Vocals might need to be compress gained a bit more or ridden to compete with the guitars. Maybe a bit more delay.
The consonants in the vocals at the chorus could use more bite to cut through the mix.
Overall balance of instruments panning and stereo was superb!
Thanks Paul, I may end up re-recording the vocals, but it’s good to get your ear on them. I will spend more time getting every syllable heard in the mix “proper”.
Yeah, I agree. The distortion was a bit of an experiment just on that first exposed verse before the prechorus, just to add a bit of a different texture and some interest. I think I prefer it the other way too. Thanks Eric.
Thanks Emma, yes I’m not sure about that either - just tried something different - easy to change back.
some tasty keys tucked away in there for ear candy…
Glad you noticed the keys - they were the main change I made.
At 2.26, there was a moment, just before ‘some say that’s progress’ where I just heard a moment… hmmm, how to describe? It felt like a possible build-moment where some sound could happen to give a quick pause/shake? in the development to give a slight additional emphasis to “some say that’s progress”.
Do you mean a transition effect? A swoosh or backwards cymbal?
Gosh, listening between the two mixes you have done some great improvements to the clarity/richness of version 2… cool stuff. Great to hear new fresh sounds… I’m caught in very busy work/life no studio time so it’s wonderful to hear this and remember that other elusive part of my life… thanks!!
Thanks for your thoughtful comments - hope you get to do some more music soon.
Thanks Michelle!
Comparing the two versions, the bass response on the guitar chords was better in your previous mix, the new one is a wee bit too thin. I would personally prefer the “bass and crunch” to come out more. I grew up in a guitar jamming house lol. I am a big fan of guitars rockin da house!
I don’t think I adjusted the guitar sound between the two versions, so perhaps the added Hammond keys are creating that impression?
Vocals might need to be compress gained a bit more or ridden to compete with the guitars. Maybe a bit more delay.
The consonants in the vocals at the chorus could use more bite to cut through the mix.
Good points - especially about the consonants - that’s where the energy lives in vocals. As I said above, I’ll probably re-record the vocals for the final version, so I’ll definitely be paying more attention to riding each syllable for clarity.
Overall balance of instruments panning and stereo was superb!
Thanks! I really appreciate the listen and the excellent comments.
It could be some kind of interference from that yes. I have heard guitars done both ways, classic rock vs punk rock and they both are fine depending on what your vision is for the song. I have a bit more bias towards classic rock, bassy distortion, bigger crunch, lenient compression… Joe Hahn style. If I am mixing it for myself Id use guitar attack in Numb as a reference https://youtu.be/kXYiU_JCYtU?t=11s
Yeah, I guess guitar tones are a very subjective thing. Having played for over 40 years, I have some very definite preferences. I find my tastes tend to veer toward more Marshally-style overdriven tones. It’s funny though, because no matter what amp or pedals I use, I always end up sounding pretty much like myself.
Speaking of subjective: I’m wondering when Linkin Park became “Classic Rock”? It’s only a label, I know, but I’ve always associated Classic Rock with the 60’s to 80’s. I’m old, I guess!
Labels aside - and maybe it’s an age thing - but I really didn’t at all like the Linkin Park guitar sound. Granted, it’s a powerful sound, but to my ears it sounds too “off & on”…and lacks the dimension and nuance of a less saturated sound. Still, I have mixed other bands’ music that aims for that sort of sonic target, so I can appreciate that it’s a very popular sound that elicits a certain emotional response that many find compelling - just not for me… Each to his/her own, I guess.
It is popular sound yes, I was fine with your guitar sound and still am
If I hadnt heard your previous mix, I might have not noticed anything missing really.
Linkin park isnt really traditional classic rock but its sort of transitional. Big chester fan here though so bit of a bias on my sonic targets for guitars. Your mix is better wider, richer than Numb (big thing for me to say but it is true, modern mixes stomp all over older mixes - certain ones excluded)
Your previous mix seems a bit better to my ears, a bit more glued.
Yeah, I’d never thought about it before you mentioned it, but even those early 2000s recordings are getting on in age now. I think unfortunately, some of the potential width and dimension on those records was sacrificed in the name of loudness, which was climbing toward the zenith of it’s insanity by then.
In my song, a lot of the width in the chorus is coming from the acoustic guitars sitting under the distorted ones. I’ve always loved that kind of thing - right from when I heard it on Midnight Oils mid-period records through to stuff like this, from The Superjesus in the 90s. The acoustic in this track is really subtle, but it just adds a certain sonic signature that really sounds different to my ear:
That sound was kind of the inspiration behind my track.
Your previous mix seems a bit better to my ears, a bit more glued.
I think you might be right - I didn’t really take the time to customise the existing elements to fit with the new keyboard elements I added, so I’m guessing that is where things come unglued a bit. Thanks again - I really appreciate your thoughtful input.
Yep, definitively a good song, nicely written and mixed with tastes, as usual
And it’s not a “oh, I have a fretless bass, hear it during 3 minutes long” song!
It’s not so much a fretless bass as a bass minus the frets - it had them originally, but someone pulled them out! The difference in sustain is unbelievable though… This thing just sings forever - must be the fact that the strings are in direct contact with the fretboard.
Here it is - it ain’t that pretty, but it was free, after all:
