Hey there Redworks That nick sounds awfully familiar, RR maybe?
I generally don’t read the other comments before I post my own, so I could listen with unbiased ears, and give my subjective view on the mix in question. That being said, sorry if some of my observations are already listed above
OK, so the first thing that jumps out is the low end (120 Hz and bellow), and low mid-range (somewhere in the ballpark of 300 Hz). That low end is way too big and just overpowers the rest of the mix, eating up your headroom. Kick is buried somewhere deep down in there One thing you as a mixer could never do enough is referencing. Pull up some of your favorite mixes and AB them against yours, ALL the time while you’re mixing. You probably heard of a great plugin that makes your life easier (not needing to import various tracks in your project), Sample Magics - Magic AB. That one is a real time saver in this case. So as far as low end goes, there are workarounds if you do not have adequate monitoring, room etc. The one I found works best for me is Sonarworks Reference 3, basically they have a whole list of headphones they have calibrated, and turned their frequency response into a “as linear as it can” responses. I bet you have a pair from their list, as they have calibrated almost every model there is (at least the well known ones). So basically what you get is, a linear frequency response and no room modes, because you’re using your headphones. So checking your low end and comparing it to commercial releases is just that easier these days
As for the low midrange, I remember cutting out like 9dB out of the electric guitars, and about 7 on the acoustics in this area. Don’t be shy in around here, hit the EQ hard, because it;s where the muddyness creeps up the fastest.
I like what you have done with the vocals, the way you treated them, although the S-es, Shhh and T’s could have been more de-essed. I personally have yet to find a good de-esser that does the job right, so I just cut out all of them from the main vocal track and move them to a separate track. That way, they won’t be affected by any processing (high EQ, harmonics enhancers …) and you could even de-ess just that track, it’s easier to find the annoying frequencies this way
Love the panning electric guitar, really adds some movement and excitement in the mix
There you go, if you just clean up the low midrange, and control your low end (multiband compression is my favorite method) other parts that are more important would just jump out of the speakers, without you ever reaching for a high shelf EQ
Keep up the great work, Redworks