2025-JAN-01 Info: I hope you're having a great start into 2025. Our yearly Special Sound Design Challenge is live - check out SWC089 Community Scramble
Regarding the boomy bass, I totally agree - my mix was definitely too loud on the low end. I think what happened is that because of the rules regarding what you can put on the mix bus and not allowing mastering, I avoided the sort of things I would normally always do, such as a mutli band compressor and mastering EQ on the master. As a result, the low and sub bass frequencies on my mix are highly dynamic and can have very loud transients, when they would normally be filtered out and compressed/dynamics controlled at the mastering stage - something that can still be applied to the mix provided of course!
The mix bus debate is something I guess I'll weigh in on at some point. However, would it not have been possible to have controlled those wandering feequencies at track level?
Thanks for the feedback el-bo! I aprecciate you took the time to make comments on every entry and with enough detail to understand the mistakes.
I must admit I went too much into experimental ground and missed the overall point of this challenge so your critique it´s understandable.
I am really confused to what happened with the brass tracks tho, I must have lowered the fader by accident or something cause they are almost completely gone and I realized after the deadline so there was nothing I could do
I hope you submit more tracks in future challenges, it was a lot of fun.
As said, I am open-minded to ideas, if I feel they work. It is a risk that you took, which did work in some areas.
As I mentioned, had we been in the studio together, I'm sure we could have worked some of that input into the end mix in a way that I felt suited better.
Glad to know you liked my entry el-bo! Thanks for the clear and precise feedback, I really appreciate that
Reading your feedback I feel that the mix is almost there and now there are some rough edges that need polishing. This really makes me happy about most of the decisions I made. I'll address the issues you pointed out and hopefully make it even better now that I have fresh ears.
Regarding the boomy bass, I totally agree - my mix was definitely too loud on the low end. I think what happened is that because of the rules regarding what you can put on the mix bus and not allowing mastering, I avoided the sort of things I would normally always do, such as a mutli band compressor and mastering EQ on the master. As a result, the low and sub bass frequencies on my mix are highly dynamic and can have very loud transients, when they would normally be filtered out and compressed/dynamics controlled at the mastering stage - something that can still be applied to the mix provided of course!
The mix bus debate is something I guess I'll weigh in on at some point. However, would it not have been possible to have controlled those wandering feequencies at track level?
Of course, I suppose I just instinctively want to preserve as much dynamics as possible at the mixing stage, and then leave it up to the mastering engineer to eq and compress (including the bottom end) to taste.
Regarding the boomy bass, I totally agree - my mix was definitely too loud on the low end. I think what happened is that because of the rules regarding what you can put on the mix bus and not allowing mastering, I avoided the sort of things I would normally always do, such as a mutli band compressor and mastering EQ on the master. As a result, the low and sub bass frequencies on my mix are highly dynamic and can have very loud transients, when they would normally be filtered out and compressed/dynamics controlled at the mastering stage - something that can still be applied to the mix provided of course!
The mix bus debate is something I guess I'll weigh in on at some point. However, would it not have been possible to have controlled those wandering feequencies at track level?
Of course, I suppose I just instinctively want to preserve as much dynamics as possible at the mixing stage, and then leave it up to the mastering engineer to eq and compress (including the bottom end) to taste.
Clav - Don’t mind the modulation effect, but such an effect benefits from a touch more movement.
In keeping with the live band concept, I tried to avoid any obvious panning effects, but I could see subtle changes over the course of the intro. Is this what you had in mind? Or is this a subjective comment, left up to me to interpret (which is fine, but I'm not quite wrapping my mind around it).
