Well, I think you're definitely on the right track for a rock mix. The mixing style kind of reminds me of Mayday Parade. As someone who has participated in multiple songwriter and mixing panels, I can pick some nits for ya...BUT
note that these comments reflect my personal biases of what I want to hear when I mix a song. I've always said there are at least 20 valid ways to mix a song. However, the only one that matters is the one that expresses the artist's vision the best.
- It's top-heavy frequency-wise. The bass needs to drive it more, with the bass and drums providing more "meat."
- Provide more differentiation by aiming for three groups with their own sonic identity: vocals, guitars, bass+drums. One way to do that is to use EQ to cut in one section, which makes room for that same range in the other sections. Then each section can own the part of the frequency spectrum that serves it best, and come through loud and clear.
- Pull back on the dynamics and maximization. Use DSP to bring up the sections that need more level, that gives you strength without the thinness that sometimes happens with compression.
- Dynamics are good! They add to the emotional impact. I add very little dynamics processing when mixing. I save it for the mastering...typically around 6 dB of gain reduction with multiband limiting. I NEVER compress masters. I want those peaks and punch.
- The vocals are good, don't be shy, bump 'em up a bit! (Personal bias alert: I'm old school about thinking vocals are always the most important part of a song.) Bring up the harmonies too, they give a cool variation.
- When you hit the bridge, introduce a radical variation - like pull out the drums, or use acoustic guitars, change the processing on the guitars, something. You want to make sure that a song doesn't just flow in one direction. Change things up. Shock the listener (they love it
).
Here's the kind of thing I mean about adding some disruption. On one recent song, I needed to have something really
punch for two beats before the second chorus hit. The words for the vocal just before the chorus were "until then..." I tried
everything (and I mean everything) to give the vocal super-strong instrumental support, but it wasn't a dramatic enough shift. I tried different effects on the voice...you name it.
All attempts were epic fails until I isolated the voice - no instruments - for those two beats and took off all vocal processing - no EQ, nothing time-based, just the raw sound that came out of the mic, cranked up. Because it was only for two beats, the effect was truly jarring - the contrast when the chorus came back in like a sledgehammer was just what the song needed.
I certainly don't want to sound overly-critical. Believe me, I wouldn't have taken the time to write all this if I didn't like the direction you're taking! I hope these comments give you some ideas that might be helpful for future projects.
Hey Craig, what a lovely reply! I really appreciate it! Ya, so, it's weird. I put some effort in to using a reference track this time and all I kept hearing was that my bass was too loud! So, that's my story, lol. I agree, that's the sound I want is that thick low bass and drums!
I hadn't heard of Maday Parade. I can see some similarities musically. Nice melodies, and everything resolves normally. Really good singer too.
I'm pleased to be compared to them!
I carved the kick and bass and was happy with that, (until I turned the bass down), and I also carved for the two guitars.
Admittedly, I didn't do much for the vocals. There's always so much to do, and I just wanted to actually finish something.
I'm not sure what DSP is. Saturation? I was just going for volume on the master. I really shouldn't do that I know. The mix without that is around -6 and the drums definitely sound better.
The vocals. Well, I have them louder than many other mixes in the past. I'm singing, and I still struggle with my own confidence. The BGV definitely should be higher too. Like, Journey is what I grew up on, and his voice is all you hear. I get it, but I kind of like the rock band with vocals that don't dominate. Definitely good advice though. All of it really.
This song is 40 years old, and that's the way I've heard the bridge ever since!
I've painted myself in a corner a little with these songs with the fact that I'm doing everything! When I was first learning to record, it was almost too difficult to manage the computer and the the playing and back and forth.
Now all that's easier, but I tend to not get too experimental with dropouts or huge dynamic swings. Sometimes, on an old song it feels better to just get it done. Haha. I have a bunch more newer tunes that I'm going to get in to soon. The next one just needs vox and solo. This one has a VERY unlikely bridge, so stay tuned.
So let me know what you meant by DSP if you have a quick second so I can work on that.
Again, this has been so helpful. I am glad I'm in the ballpark at least. Thank you soooo much.
