sounding great. I am still hearing a little distortion from the vocals like it is peaking at a couple of points. 1:51, 0:16, 0:25. I am a little focused on it because when i mastered the hallelujah song i was getting some of that same buzzing and I need to go back to the mix and see what can be done.
Someones got their groove back!
The vox is loud and proud, the very little left of confusion comes from the way he sings or his accent, great job!
Yay… love it… subtle changes for sure but for me it has a whole new freshness and spark… shades of Neil Finn from the vocalist. That change in the intro was really effective for me, clever… just set the scene slightly differently and with conviction… Great stuff!!
Thanks Eric - I’ll check those out. Just a question related to that - Did you hear those same artifacts in the first mix? I suspect it may be down to a few automation moves I made on the vocal in this mix. If they weren’t there in the first mix, then that might confirm my suspicion.
Cool - glad it’s working at your end - thanks for the input!
I heard something similar in the first mix only i was hearing it more often in the first one. now it is just in a few spots.
Ok thanks for that.
Thanks for the help on this - After 10 years in the same space, getting used to a new one will take a bit of doing, but I think I’ve made a bit of progress. Here is the finished mix that the band approved:
Awesome! Dynamic edgy crisp and yummy!
Sounds good to me Andrew!
@holster I thought the issue with player cutting when you scroll up or down was fixed? It just did it for me…
Hey! I’ll test some more! It was working fine for me, but I’ll try it on more browsers
Thanks for the heads up!
I’m on Win 7 Chrome right now and it definitely did it for me. Was listening to the tune at the bottom of the thread and wanted to see if there was a different version or comments from Andrew at the top, so I scrolled back with the mouse wheel and it did cut when I was half way there.
Really nicely bassy one !
Listening again (your latest version), and it sounds killer to me! (getting tired and out of superlative now Andrew!!!)
Thank you Pat!
The top, band approved mix is awesome, awesome, awesome!!!. Sounds perfect on my small monitors. Good production and mix!
The only thing that bugs me is the tom sound at the end fills. But that is just my ear. It’s mainly the high tom. They are perfectly placed and do their job. If I were to have toms tuned up like that, I would want the snap that they provide. I’m hearing eq that I would expect on lower toms on that high tom.
This is COMPLETELY insignificant and probably should be disregarded… later
Pretty good. Each decade I’ve noticed since the '60s has had an engineering trend. In the '60s it was minimalist drum miking and weird stereo mixing, the '70s was the decade of tape saturation, really high input gain. The '80s was all about excessive reverb and how clean you could get the bass to sound. In the '90s it became about using almost no reverb and jack up the bass to unnecessary levels, the complete antithesis of the '80s. The past two decades have been like the '90s, but also with supreme compression. It’s refreshing to hear a mix like yours that is seemingly trend free, you’re not afraid to apply necessary reverberation to those drums, and it doesn’t sound like you used too much compression. If you put this song into production, be wary of CD pressing plants. As scientific listening tests will tell you, pressed CD’s never sound the same as the masters they were made from if not extracted to a computer. Since they are made up of nine analog sine waves, there is much more room for error than you would imagine, I’d recommend getting a company that admits their CD’s don’t sound indistinguishable from the master. Honesty is comendable in this day and age.
Hi DTI, and welcome to IRD! Thanks for the kind comments.
I’m not sure what the band’s plans are. The last EP I mixed for them was released as a CD, but I get the feeling they may just go the digital download route with these latest tracks.
You’ll probably hate me for this, but I actually use a lot of compression in my mixes, both on the individual tracks, the busses and the master buss, serial and parallel compression. Sometimes multiple compressors on one track.
I generally find compression to be one of the most powerful and essential mixing tools, second only to eq in terms of its ability to shape a sound.
With the ubiquitous use of digital recording mediums, it’s particularly become more important now more than ever before, since the anologue recording mediums of yesteryear often created their own inherent compression and saturation/distortion.
Without that ‘cushioning’ effect to control transient peaks, compression (and by extension, it’s related variations of saturation, clipping and limiting) are vital IMO.
Yes, compression is definitely a difficult tool to learn to control and use in a tasteful way, but it’s definitely not the enemy.
I absolutely understand that point of view. Trust your ears before the mouth of anyone else (including mine). As a mixing tool I agree that it can and is very useful, especially on drums. I’m just not a big fan of it on the mastering chain, but I’m also very old school for the most part. Barry Diament has definitely swayed my opinion on the topic. He’s a very enlightened and humble person, despite being involved with recordings by Zeppelin, Genesis, AC/DC, etc.