Re: MIX CHALLENGE - MC097 April 2024 - Mix Round 1 in evaluation
Posted: Fri May 03, 2024 00:14 CEST
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Hi, sorry for late answer (and I don't know if somebody else has answered). Anyway - yes, different drums on the original track. According to the rules, It's possible to do that way. But of course, the drums included in the package is the only ones you can use.
Yes it is. Like most here I'm learning - there is a lot to learn. This is the first time I gave this a proper go and looking back I could have done more and better. It also distracted me from some of the basics this time. There are so many aspects to mixing.
With regard to some of your points here, there is a bit of a blurred line between what is typically a mix engineer's decision and what is a creative decision for the artist whose material you are mixing. I'm always careful not to overstep the bounds too far into the realms of artistic expression with my mix choices. The decision to sculpt the arrangement emotionally through automation might be in complete contrast to what the artist had originally intended, then again it might not be.zed999 wrote: ↑Fri May 03, 2024 19:57 CESTAutomation - the artistic / emotional part of mixing, leading the listener through the arrangement. We poor humans can't take in too much at once if there's a lot happening, but if our attention is drawn to one or two things at a time (in addition to the vocals, groove), we enjoy that, usually without realising it's deliberate. For mixers this should be an advantage? If you listen to the arrangement, there are musical stories to pick out, tension to exaggerate etc. If you make a mix so that you can hear everything equally all the time, it's harder to follow he intention.
An example is the guitar solo which interplays with the keyboard, the wail, the electric guitar etc. If your mix focusses only on the lead guitar, the rest being left flat and balanced, you need to hear it well as it's all that's obviously happening? The solo becomes a loud solo on top of the other instruments. which might appear to be merely waiting until it's over... but they aren't just waiting...
I don't disagree with any of what you say in general. I'm not talking about sculpting it into something it isn't already. Perhaps I mean making sure melodic arrangement and embellishments don't get lost in a flat busy mix. This time, the provider hoped for some variation, deliberately didn't provide references, and cited wide ranging possible influences from the Monkees, to Steely Dan and Carly Simon. He also says he would like all instruments to be fully audible in the mix but that doesn't necessarily mean equally audible throughout the mix. I hope.BenjiRage wrote: ↑Fri May 03, 2024 23:31 CESTWith regard to some of your points here, there is a bit of a blurred line between what is typically a mix engineer's decision and what is a creative decision for the artist whose material you are mixing. I'm always careful not to overstep the bounds too far into the realms of artistic expression with my mix choices. The decision to sculpt the arrangement emotionally through automation might be in complete contrast to what the artist had originally intended, then again it might not be.zed999 wrote: ↑Fri May 03, 2024 19:57 CESTAutomation - the artistic / emotional part of mixing, leading the listener through the arrangement. We poor humans can't take in too much at once if there's a lot happening, but if our attention is drawn to one or two things at a time (in addition to the vocals, groove), we enjoy that, usually without realising it's deliberate. For mixers this should be an advantage? If you listen to the arrangement, there are musical stories to pick out, tension to exaggerate etc. If you make a mix so that you can hear everything equally all the time, it's harder to follow he intention.
An example is the guitar solo which interplays with the keyboard, the wail, the electric guitar etc. If your mix focusses only on the lead guitar, the rest being left flat and balanced, you need to hear it well as it's all that's obviously happening? The solo becomes a loud solo on top of the other instruments. which might appear to be merely waiting until it's over... but they aren't just waiting...
My point is, as mix engineers we should be primarily concerned with technical aspects, maintaining a largely objective view of the material, while still being aware of the musical product on a subjective level and working closely with the artist - this is what I was taught from the get go when I studied Music Production.
Regarding automation, ultimately, mixing is a balancing act for which automation can play a part. However, my advice would be don't feel like you HAVE to use it - this depends entirely on the material. It can be a useful tool, and I do use it frequently, but you shouldn't start out thinking "omg I have to start automating things or I'm no good". Many mixes I've done have no automation at all, but again it was dependent entirely on the track in question.
Thank you! No problem just was curious.A Future in Noise wrote: ↑Fri May 03, 2024 17:53 CESTHi, sorry for late answer (and I don't know if somebody else has answered). Anyway - yes, different drums on the original track. According to the rules, It's possible to do that way. But of course, the drums included in the package is the only ones you can use.
Thank you for the thorough, detailed, and useful feedback. Very much appreciated!sthauge wrote: ↑Mon Apr 29, 2024 19:50 CESTHi rodzroom
You asked for feedback, so here's my thoughts on your mix, it's perfectly fine to disagree. I'm mainly comments on what I think you can improve:
1 Lead vocal is a bit 'woolly' in the first bars, could have been brighten by automation. It's also some lisping that could have been corrected. In the end, the lead vocal track could have more presence, try reduce around 360 Hz, medium Q and boost around 4.5 kHz, broad Q
2 There is some minor reverb overload some places, eg at 3.56, ''when will they see, how(here) we...''. If you using a reverb bus, you can see if you can get this technique to work(it works best on drum reverb): put a limiter on the reverb bus, try before and after the reverb to see whats best, 0 ms attack, quick release, just to take the bit of the reverb feed or the reverb output so you removing the reverb overload. If you're happy with the way it is now, forget it.
3 I not sure how good the vibrato on the piano and vibrato on the lead guitar works.
4 The lead vocal and some of the backing vocal are fighting for space, pan them a little bit apart.
5 The snare could be more snappy
6 T he kick could have more low end
7 Automation and more automation. Get the nice short notes or a hit or two on a drum come forward to spice up the listeners experience of the song. Tips, the brass at the end.
Thats all for now, good luck in the competition.
Steinar