May 16th, 2008, 07:31 PM
MiX iT! 3d – ChrisJ Hates Everybody
...or at least everybody who did it right.
Music industry rules- I'm swamped in entries, if I can come up with a reason to not listen I'll take it. That means mainly stuff has to be named correctly. I'm not listening for technical details at all and hope to not make a single comment about frequencies or db, but only about how the mix feels, where it takes me, what it's trying to be.
I'll try to be open to whatever the mix is trying to be, so if it's a really great ultramodern compression nightmare I won't just swear at it because it's trying to be something I hate
Page by page, this is page 1 of the post it thread in this post.
Calvin- Sounds pretty 'straight'... maybe kinda crisp. Disciplined- the kick is so punchy- it gets bigger nicely and there's some drama. Again, very disciplined it seems. I could be more involved than this, I'm detached. It's like listening critically to the band and the mix in order to not find anything wrong.
Danbee- feels more 80s or something. I feel more passion but it's not being carried off in an elegant way- feels like sort of rough, heavyhanded EQing and aggressive mixing to push the emotion out of the song. I keep getting distracted by mix elements like the point on a ride cymbal, and the muscle of the song seems weirdly not as big as it could be- like for some reason the guts of the bass and drums aren't aligning properly.
I'm trying hard not to read people's notes with their tracks...
Numb Thumb- We are loud, yes we are. Congested. which for this song isn't out of character. This has more emo oppressiveness than anything yet. I'm digging the handling of the vocal (which has a lot to do with its instrumental backdrop). Yeah, this is dramatic. It didn't have to be distractingly loud and thick and oppressive, but I have to call this one a success because it's just plain more emotional in spite of the mix ugliness.
Billy Gimp- labelled wrong and I wasn't hearing anything so different as to force me to ignore that. apology for the '622' accepted
Seawell- where's the notes? Outre 'n Deep, where's the notes? Chicken8r, where's the- oh, they're coming later? good good- but it furnishes me an excuse to skip over your mixes, it did say to include the "-MIX" and "-NOTES" files. I'm sure I'll screw this sort of thing up myself in future and have done so in past and expect no quarter for myself either
hang on, maarten says the thread wasn't accepting zips. I'm not happy with you guys for not going back and sticking the zip in like maarten did, but that makes it not your fault, so the previous three get a callback.
Seawell- huh, it's polite and slightly overproduced at the same time. What I mean by that is, the feel of the artificial 'bloom' around the snare is as dominant as the feel of the actual snare hit- my perception of something being done there is as strong as my perception of what the instrument's playing. It makes a lot of things into colors. I'm losing a little of the emotional position of the singer, he's turning into voice and reverb colors, though it comes back on some lines. When it's done it's like Chinese food and feels as if nothing has played. Man, this sounds negative. Is it because I'm too fixated on delivering the rawest possible emotional impact for this one? This mix is the anti-raw.
outre-n-deep- More loud bastards I see... feels sort of Dye-by-numbers, stuff like little drum reverbs and hyping of sonic events that haven't got a fucking thing to do with the song as a song. I mean, big drums on that intro doesn't bring anything. Lotsa big everywhere, not a fucking thing to do with the song. Biggest B3 sting I ever heard that totally distracts from the following 'goodbye daydream' lyric and vocal mood. A world of no. Sorry, but QUIT GOING FOR GENERIC BIG SOUNDS. You obviously can do that, learn when NOT to.
chckn8r- OK, this is weird. This balances different from everything else. Really different. I do like how the vocal is pretty much dominating- quiet bits feel uncomplete so it better be getting ready to go big- um not really, it's still very lightweight but the hat is going SIT! SIT! SIT! SIT! to bring the big chorus home. Nope, this doesn't balance right. It doesn't step on the vocal so it could be worse, but it feels like an old Police mix except without big bass guitar, and you have to at least have big bass guitar on the big chorus. The hat is killing everything else.
maartenl945- I hear loud people... so far this one's only hinting at being way out of whack, but it holds together. Lots and lots of little producey tricks and mix moves, but so far nothing that really screws it up for me. Hmmm. Interesting, because all the stuff that could potentially detract from the song is reined in just enough. What is there, often sets a mood- I got a chilling vibe off a B3 sound, for instance, it was the correct vibe. it seems like if I wanted a lot of mix moves and production I'd seriously love this one. Good taste, good taste. It could be rawer, but such good taste.
Knastratt- I can't say I'll skip over stuff that's not presented right and then never do it- named wrong, *skip*
IntelDoc- you too? Geez.
Tannoy- Pretty straight. WTF with the arbitrary added parts? I do like how the vocal sits, and the way it gets bigger on the chorus. It flirts with getting bigger than the vocal, which isn't ideal, but it doesn't go over the edge. I think this works though the vocalist is clearly just another part of the band- I don't think the band stuff is special, just excellent, and I do think a lot in the vocal is special, so I would (did) throw the band under the bus for this song's mix. You've got them fighting for star quality with the singer.
Ashley Smith- huh, what's with the vocal? He's spitting flecks of spittle for no reason and gasping for air harshly. He sure does sound like he's been shot but that's pretty literal-minded, and holy crap you threw half the mix under the bus. When the band comes in it doesn't have the right fullness because if you arranged them to come in only then, it would be arranged differently... this is ambitious as hell, but it doesn't really work as a professional mix. The trouble is, the lyric and vocal and song already have loads of character, and you're imposing a totally other universe on them and it mixes like oil and water. Points for ambition, but also penalties for lack of humility to see that sometimes the music BRINGS its own character and doesn't need to be dressed in a mix like a suit of clothes.
Starfucker- relatively straight, I'm noticing the vocal first which is good. I like how the other instruments sound good but are more supportive of the lead vocal- this is what I call good balancing. On the chorus, the guitar starts to fight the vocal hard for attention, it has the same amount of personality but dude it's not singing lyrics, you lose the singer that way. It's guitar-solo levels and personality. Throw that guitar under the bus! remember, your purpose is NOT uniformity even at high conceptual levels like how much personality everything has. Not everything can be big at once, what can't you afford to lose?
I note people still can't do zips but lots of people by this point have said they'd go back and edit their posts- by page 2 it's gonna be, you had to have gone back and edited it by now. Also, firefox is trying to kill me and almost ate everything thus far. eek.
Fizbin- loud, produced, I have a bad feeling about this. geez. little vocal echoes distracting me, massive crunching beats? I admit that vocal is strong as hell, but still this degree of intensity is just distracting, I can barely concentrate on what the song is about. it becomes about rock and roll mayhem. The pre-verb on goodbye daydream changes the meaning of the lyric and implies something more mystical or whatever. I really have to salute the capability here, the mix power and intensity, but it fucked up the song inappropriately.
hamonrye- wow, incredibly gentle by comparison- though so would be AC/DC you know I haven't heard anybody else yet deliver the tenderness in this vocal as well as you. I'm concerned that you're losing out a bit on the places where it gets more overwhelming. I'd say this was a must hear for anyone who automatically went for the hyper-powered thing- but it's not so much a successful mix as a demonstration. It demonstrates how you can convey the more sensitive aspects of the song, but it's so laid back that it can't cover the whole range. At the same time you wouldn't want to intercut this with the highpowered stuff because then the TRANSITION would be distracting.
Amater- there's a nice clearness here. kind of lightweight. However, the way that frees up the vocal is something I could like. And, the rhythm section is unrestricted enough that the song gets a bit bigger on the choruses- this is like really old school with the drums and bass retaining a huge dynamic swing. It makes a lot of it feel lightweight, but then it can really kick. A hard sell into today's market, but an awesome reminder of the kinds of mix motion you used to be able to have- thanks. And it's GREAT at not getting in the way of the vocal
meloco-go- This is a different flavor of that- instead of lightweight clearness, this is sort of ambient openness. More emphasis on having the drums hit hard, more emphasis on ADDING vibe instead of leaning on the vibe that's in the tracks- not putting the vocal up front but sitting him in a reverb texture. That said, some of his emotional outbursts totally came off undiminished- in particular, the outrage in 'it's in my face my friend' often really popped. Other emotions didn't always jump out as much. Nothing else about the mix either thrilled or offended me- you're not doing too bad if an emotional quality in a lead vocal is the most memorable thing in a song. That's actually GOOD. On the right track.
Glitchfactor- interesting in that the verb and space make it 'produced', but nothing is getting aggressive or bright at me. Sort of like a seventies produced quality? This is really deep, really retro. I like that but the vocal is suffering BIGTIME from not being able to grab that post-80s incredible hype and intimacy. I thought that for this song the vocal was great to have super-close and intimate, including when he gets loud and outraged and overwhelming, but this vocal just sits there, farther back than the Rhodes. That's a problem, you can't just put the lead vocal back with reverb and call it a day. Nothing here offends but sometimes the song demands that an element get more obnoxious because it's too important to ignore. Can't make it TOO easy for people to tune out the important parts
That's page 1 of 5. From this point on, you've seen a lot of people say 'I'll edit my post to add the 'zipped info file'' so if you don't have it, that would be bad no do-overs, but I'm going to break for lunch so anyone who can still edit their post has a chance if you get to it before I do
May 16th, 2008, 09:10 PM
Re: ChrisJ Belated Crits Everybody
??? Not done right???
You lost me coach...?
http://mixer.tbrstudio.com/MixIt3_IntelDoc.m4a (mastered - sorta)
What was wrong with the format again????
Song was attached as well as directly linked if problems arised. Webspace is cheap my friend.
May 16th, 2008, 11:13 PM
Re: ChrisJ Belated Crits Everybody
thanks for the critique man, should have automated the damn vocals at the explosion of organ and guitar part.
i automated an eq on the organ on the huge part to give more cut and that's when vox went bye bye.
May 16th, 2008, 11:33 PM
Re: ChrisJ Belated Crits Everybody
MortenDK- lots of emphasis on all the instruments. That tends to lose me- in the chorus, the singer's really getting stepped on, there are some other places where there are mix elements (and I mean like reverbs and stuff) on top of his softer utterances. This feels to me like another priority issue. It's darn good music but is it more important than the human (all right, cervine) expression happening? No way.
MKZ- Well this is big sounding. Some things like the drums sound really hot, but I like how they don't step on the vocal, the vocal is able to command attention, and I'm hearing pretty much the full range of emotion in that voice- WELL done there. This is a good one to check out for doing exactly what I tried to do myself with the vocal- um except for the radio FX at the end, wtf? But for most of the song, listen to the emotive range in the voice. I found I had to compress a hair more, brighten, de-ess, all sorts of very subtle tweaks to bring out the overtones that carry the emotion. I hear that in this mix and I think it's worth attention.
Baeli- we are in the production camp I see. You can't mistake this for something raw or a demo, it's totally sculpted. Something about it is working, though, it's not annoying me- partly the restraint on the volume of that hyperbright cymbal stuff, the keeping things from stepping on the vocal. Very 'Journey', the vocal has all the room in the world but there isn't another thing in the mix that is allowed to have that rawness. And the vox has its reverb and stuff for a gloss. It makes this all seem staged- which isn't a crime- but there's less authenticity here. It's way bigger than life. Choose wisely, some things are good when they are exactly life size, some things (like backing stuff) are even good smaller than life.
Molly's Lips- Why am I thinking of the Pixies? Because this is a little rough, it's not as controlled and sculpted as some of the entries. Feels like Albini drums this time, stuff poking out of the mix without being groomed to death. Journey lead vocal treatment though. Hell man, this is pretty cool. It's not really tailored to have mix engineers praising you- good for you. I don't know, it's totally arbitrary but I'm just really liking this one- all the little unschooled irregularities are somehow just right. It feels like you just winged it and lucked out. In some ways being able to get that feeling is way more important than whether you can avoid any mistakes. All the emotional places in the song were right there...
Revmen- no zip
Takk- Feels kind of thin? Hard to pin down why, everything seems to be there. Partly just the top end on the vocal, it's lost some body and fullness- I know you don't want to be boosting that but the guy sounds frail now. Loud guitars, big drums, all in pretty much the right places, and interestingly the band doesn't feel thin when the chorus kicks in- well done there. My one serious bitch is that the vocalist just doesn't sound like a lead vocal even though he's brightened. Poor thing needs biggenation before he dies
CaptainHook- big production here! Big verbs, lots of mix fullness, without really stepping on the vocal (thanks for that). I'm feeling the chorus, where the voice sits and the emotional place he's at is really good- it's going to the right emotional places and you've got the vox covering lots of emotional range. What you're covering extra well is the tenderness in the voice and the gentler bits, tragic stuff. You're not hitting the anger and outrage as hard as you could- the voice is keyed towards the softer emotions and it's just as capable of being a real slap in the face on 'it's in my face my friend'- but you're definitely in the upper class of voice handlers for being able to deliver the softer voice shadings. Everybody had subtly different approaches and the amazing range of the vox meant that everybody hit different emotional tones with the track, simply through EQ etc or just what you put the vox AGAINST, even if you didn't touch the track at all.
Booman- no info zip, couldn't sort out mp4/AAC requirement
VonRaddatz- what's up with the vocal? It sounds like he's using a slightly peculiar mic, or is faintly mumbly, and I'm not sure why- maybe just oddness in EQ? Rest of the mix is quite big, seems like it's a bigger scale than the vocal which is not good. If anything you'll do better with the vox bigger than the band. It also feels like when he really cuts loose, it clamps. I'm noticing a lot of hi-hat. Geez, nothing here is so awful to justify such a negative bitchfest, but it's just not clicking for me. Goes to show you that it's not always about whether you're making big mistakes or not. Molly's Lips' track was at least as wonky if not more so, but I loved that one. Go figure. The colors here weren't doing anything for me.
Magicchord- back to the Haight-Ashbury! Interesting- maybe I'm just a sucker for old school wonkiness? Stuff doesn't tend to sound BIG here and I'm liking it better. Except the vocalist has a hard time getting more overwhelming- sometimes as he gets more intense and powerful, the mix clamps him down. Wow, the back of the mix is a BLUR sometimes, it's hard to pick stuff out. That's kinda cool, but less cool when the vocalist isn't totally dominating it... with that type of sound I want bigger lead vocal outbursts, I don't want him cramped. He should be surfing that wave, not being held waist-deep in it.
Pimp-X- goddamit, the world is just going to make it impossible for me to do this consistently, huh? IntelDoc is unhappy with me for skipping him when I said outright that I was going to be a pain in the ass over filenames and such- and now here's Pimp-X with a featured mix and no info file because- it's not ITB, it's on a large format analog console! AND he's gone about 1000 extra miles breaking down his mix with huge amounts of info, which is the whole point. All righty then.
Pimp-X- Cymbal fan? This one's great at meeting all those 'second level' expectations- beyond just having the levels right and things sounding like themselves, the second level would be, can you chart an emotional trajectory in the mix? This isn't a guy who would miss something like the vocal peaks- it reminds me a bit of Ansel Adams prints, you have the vocal, and it'll be sailing along and it can LIFT a bit to hit a lyric with extra emphasis. Pimp-X has a really impressive amount of emotional range in that vocal and like I said it can lift a bit just for emphasis even when going flat out. That's not just dynamics, EQ also enters into it (or how you balance it against other instruments) and it's great to study. The rest of the mix says 'production' to me- sounds expensive but apart from that I don't flip over it, considering that I have such a weakness for really crude raw stuff and 'happy accidents'. No accidents here.
FredSanford- This is really straight. It could even be a faders-up. One thing that's bugging me is it's TOO straight- I keep being annoyed by overproduction, but I find that certain things can't just sit there either- actually this is erring in a couple directions, stuff like the lead vox is unhyped and undramatized, but then we got funky echo stuff and reverbs and things acting up. Not a fan of the priorities- it's like the vocalist is singing politely while the mixer does magic tricks around him. Vox has to be more intense to stand up to distractions like that.
KPHayes- aw cmon, if you had a Cubase session you shoulda posted it- or gone on for hours like Pimp-X on what you did OTB. And 'MIX' at the end of the title is all caps. I have 1000000 other mixes to crit, on to the next one.
Prunelle- not gonna hit IntelDoc for naming conventions and let you slide, sorry. Especially when you did exactly the same thing. next...
uncleozzy- Light feel to this one- I'm liking the physicality of it, that's one kickin' kick drum and low end. I'm reminded of the earlier mix that had especially uncompressed bass and drums and felt very light but could really dig in when it wanted to- it's like that. I like the open feel, it gives a really good picture of the vocalist. I am missing the really deep, whoomphy bass end, though- the mix could go a LOT bigger on the choruses without screwing anything up.
Kenny Gioia- kenny, dammit, you had a PT file and were all ITB. You of all people, it would make sense to post an 'info' with your zipped session file. I could see people really getting into that. Mega points for talking extensively about the mix, but Pimp was OTB and had no session file, you do. I did enjoy your mix, always do. *grumble* pissing off ALL my friends today just to be fair...
kgderrick- Well this is strong- lot of strong, loudish, muscular sounds going on, particularly the way the kik and bass work together. Why do I get the feeling that this time it's a BIKER deer? Everything is really butch and tough and rock and roll. This one's happiest rocking out or delivering that tone of outrage on 'it's in my face my friend'- it doesn't have a low gear, doesn't really make anything of the sensitive bits. When he's doing 'goodbye daydream' it's like that isn't his favorite bit in the song- there are mixes where that part has much more conviction. I think this is a case of, learning to cover a bigger emotional range, rather than just making a 'hard hitting' mix.
Teetoleevio- boy, some mixes kick right off with a funny quality on the 'someone was staring at me' that throws me. I think it's when people are doing stuff in the midrange- that voice is damn fragile, you can screw it up by trying to reshape it. I don't have many big complaints here- cymbals feel kind of aggressive at times, which is common to a lot of mixes. What this feels like is, a mix. Bunch of tracks colored and shaped a certain way and put together. Maybe it's just the way the vocal doesn't feel as coherent as it might be, but I'm just not getting a 'big picture' feel, it makes me listen to little elements and not have major issues with them. It's just fucking DEADLY to isolate cymbals to the bright, kick to the subs, bass to a small range of the midbass, etc.. Deadly. Some of the most successful mixes ever done, you had the bass poking way up into the midrange, you had all kinds of stuff all over the place. Don't ever put sounds into the frequency ranges they're 'supposed' to be. Think of them as motions, not blocks of frequency bricks to be assembled. I actually went back to relisten to try to figure out what the fuck was wrong with me that I was so unenthused here, and as soon as I heard the kick drum really focussed into a low-bass thump I knew what was going on. Don't cage stuff like that.
Doylemusic- skipping because of naming conventions. Feel bad because you tried harder than most to explain your info in your post, but I have so many other mixes to get to...
And that gets me to page 3, with a trail of pissed-off AEs behind me, stoning me
May 16th, 2008, 11:59 PM
Re: ChrisJ Belated Crits Everybody
Na... not stoning.. honestly just laughing deep down at it all.
No worries man, do what you do man, no sweat off my sack
(All in good humor I hope ya know!)
I would hate to see how you name everything on your computer though....
May 17th, 2008, 12:40 AM
Re: ChrisJ Belated Crits Everybody
I'm _never_ claiming such a thing again. I might as well be arbitrary, or skip only people whose files are totally broken- this is bullshit, some worthy mixes are being passed by.
But I seriously can't handle the whole load- I'm not sure anybody has literally critted every entry, and you can see I go on at some length, not just a few words.
Continuing in a moment. And remember, if you think this shit is worth anything, you can always study what OTHER people are doing and what I'm saying about that. I'm learning lots of things myself, each time I trip over a new kind of sound and figure out how it's working and what it means to my connection to the music.
May 17th, 2008, 02:33 AM
Re: ChrisJ Belated Crits Everybody
Jaygro- wow, coming back after another break and this is so atmospheric it's melting my brain. Or maybe that's just a flashback? This SOUNDS like a flashback, dude- hilarious drum sound, this is just over the top. I'm pleased you shifted gears on it for the chorus, but you could have gone SO much farther. Sort of an 'Us and Them' huge-orchestral vibe going on. That said, I find it hard to connect this treatment to the lyrical content, it doesn't make sense. This isn't a big Floydian statement, it's an emotional outburst of a very intimate nature. Deer don't crawl into cathedrals to die. Maybe they should?
There's a thought. I don't think anybody tried to overdub outdoors ambience to plant the performance firmly in the outdoors. Of course, that would be against the rules- but verb plants the performance in a hall or cathedral. I'd dig this tune mixed with some 'Grantchester Meadows' meadow ambience in it.
eclectik- dammit. Info file with some random name, BUT good info given in the post. You guys are going to make me want to beat myself to death with my own retarded promise to skip everything that wasn't following the rules accurately. Anyway the m4a is totally correct... okay, we're drowning in ambience, like on a stage or in a hall. And we've got some kind of production tricks going on everywhere we look... eclectic! Jeez, this deer sounds SO pissed off and nasty, I want to shoot him again just to shut him up. What is it about that upper-mid honk that makes this one so annoying? I used to do this with guitars and people wanted me to fucking die... we've definitely got some kind of EQing that makes everything louder than everything else. it's oppressive, this wasn't much fun to listen to. Don't push so hard to get penetrating loud sounds 'k?
ChrisJ- who's this fuckwit? naming issues- JUST KIDDING! Okay, the main deal is that I'm killing myself making everything real dry. And now I wish I put meadow sounds on and the bass could have been less saturated and heavy, some of the other mixes showed me how it could be lighter and still kick in where needed. Though if I did THAT the guitars and stuff would have to come up... fuck it, I got it the way I wanted that day. Also note that it is not a QUIET mix even though it's open- lotsa specifics about how I did that in my thread. If you want open you kind of have to be able to make elements go extra loud just to compensate... which is done Charles Dye style, with distortion.
I can never remix stuff- it'll get to somewhere and then if I try to adjust it, it blows a seam and loses everything. Oh well...
tamasdragon- i'm going to assume you speak only in lowercase as you're frustrating my naming instincts by not capitalizing stuff the way charles showed us, god knows where he gets some of that capitalization stuff... hey, check it out, the mix is in lowercase too! not a thing is really stepping up. in the chorus, maybe a bit. the vocal does rise above everything but that's the performance, you're not helping it. help that poor deer before it bleeds out entirely, pump the poor bastard up a bit so it can yell at the hunter with more spirit. i think some of this is down to your ptle and stock plugs, but sometimes not using a plug where it's not really necessary makes stuff bigger too. okay enough of archy and mehitabel.
JariNi- dammit, naming issues! You know perfectly well MiXiT3 is spelled M i X i T, you won't find it spelled MixIT in the Oxford English Dictionary! Sorry, going fucking insane over this ridiculousness, nevermind... KILL ME the next time I try to cut down my workload by sticking strictly to naming conventions made up by Charles Dye... my main deal is about how he wanted people to append -MIX and -INFO to the files, and here AGAIN we fail to follow instructions. m4a says 'MIX' and there is an info file, so I give. Okay, so this is pretty big and I think the vocal is presented well. Maybe a little sizzly, and you should check out Pimp-X's for a lesson on how to allow just a HAIR more volume when the vocal really cuts loose. Oh, and the faux harmony vocals aren't bringing anything, they're distracting from the emotional presence of the lead vocal at key moments. Sounds like togetherness- point is, that deer isn't going to be getting any of that, it's not an 'up' moment singing goodbye daydream, to be prettied up with a harmony. it's lonely, let the vocal be alone.
norman_damon- WTF. No 'info' file, 'ITB' doesn't qualify as one. Part of this was to communicate about methods and post project files. Skipping merrily on...
Princeton- Oh fuck me. 'MiXiT' is capitalized two different ways and MIX is caps but 'Info' is not. Why did I ever decide to pay attention to this cursed Dye-spawned desire for things to be named in a certain format? Fuck me twice, he's shot the deer with an artillery shell. Thorough! Okay, this is pretty big and loud, I can hear the vocal and it's sitting pretty well and not too buried by the chorus. I hear a production trick, the gut-shot deer runs off into the distance to end one of the lines! Forgive me, I'm losing my mind already and only on page 3... I guess bottom line of this mix is, it's competent but has a tendency to file stuff under 'loud' and as such it's not putting up shapes and movements, it's putting up wallpaper. Stuff is fitting together in a generic way which tells me the elements are being too controlled. 'Biggenate' them.
Oh, and the 'MIX' suffix was tacked on by a hyphen or dash as prescribed, but the miscapitalized suffix 'Info' was NOT tacked on by a dash, but by an underscore, which by Dye naming rules must clearly go between MiXiT3 and your username! The punishment is, of course, death.
Billy_B- why can nobody accurately follow Dye naming conventions? Oh, right, because they're insane. Those of us painfully following the madness were damned FOOLS. Anyway... this has a nice feel to it. There's space in this mix, and a hell of a lot of definition on stuff like drums, fascinating kick sound, it's not all EQed into a lump but instead has a peculiar swing-thwap to it. Possibly some unnecessary phase tomfoolery there, it's also a bit distracting. All in all, this is a pretty tasty production, and it's pretty good at not getting in the way of the lead vocal's emotion. There's room for the lead vox to be bigger, but it sits well.
Skwaidu- um, wuh? Buzzy noises on the Rhodes? Crazy whoomphs? Shit man, I've never heard a deer killed by having a forklift of empty dinner trays dropped on it before. And this is so loud and poppy and aggressive... I dunno, I think you've tripped HARD over the overproduce stick and this isn't the song for it. Guitars blowing me away, reverse-reverb stunts... your vocal is strong but go listen to some old Neil Young, man. Rhodes is turned into an elevator floor indicator beep by distortion why? I'm sad, I always like your stuff but Mixerman is right to slam you guys who pushed the production really hard. Can't you hear how it doesn't make sense or REALLY turn the song into something poppy? It's failed poppy- it's gotta be its own thing. Uncommercial fools like me had an advantage because our usual schtick didn't clash so hard with this song...
southboundloco- "the usual" isn't enough of an info file, skipping...
dikledoux- fuck me, he tried to make the insane naming conventions work and almost succeeded and has an info file but had to go with an mp3... I'm gonna go with effort and the inclusion of an info file, and I'm never gonna sweat this stuff again. Charles, you might as well just have everybody call their tracks "ArentYouProud.mp3" because this is madness. OK, this mix has strong drums which I expected from Dik, the vocal is handled very well- interestingly it feels like the vocal is doing a duet with the drums, such is Dik's empathy with drum tracks that they feel spotlit and work WITH the vox... one thing about that, there's no room to feature everything so all the other tracks fit VERY well in a subordinate position. This works.
BoogieWithStu- you gotta do an 'info' file dude! This was a learning experience where people could've played with your session file, that was the point! Skipped.
Alanml- hasn't got his name in his info file. Ya know if someone DLed all this they wouldn't have a clue whose that was- Charles' attempts to enforce a coherent collection of files all end in lulz. Anyway... this is sure kickin' and strangely gated and hyped up. In a peculiar way it works, because of how intense the vox are. Whatever you're doing, it retains a surprising amount of the vocal expressiveness- in fact everything has weird arbitrary colorations and effects on it, but for some reason doesn't suffer much from that. I guess I'm kind of like, okay, you can make the song communicate even through a vocal reverb that sounds a bit like a wood shoebox, without taking anything from the emotional impact of the song. So- why the shoebox?
DaveC- this is a nightclub act? Points for not doing the 'gunshot reverb' effect, I was expecting it when I heard the other verbs. I'm actually liking how the Rhodes sits- it's physical rather than visual. The vocal is all about the visual, it's lit up with a bunch of cigarette smoke wafting into the spotlight. I do like the spotlight, you really do have this vocalist on stage and lit dramatically, with all the other instruments arranged OUT of the light, and it does in fact work to direct attention to the vocalist's plight. Only thing is, when are deer shot on stage in nightclubs? But better that than shot in cathedrals- and your vibe was so appealing, I can hardly complain. Nighthawks At The Diner only for wounded deer.
indiesynthpunk- hello? Sounds that aren't huge, interesting. This is real intimate already, though it feels strangely live- and the band is so strong it's almost distracting. The image is weird, like anti LCR panning, where everything HAS to be at something like 10% or 70% positions... all in all, it feels like a rehearsal or a gig. It's funny, it feels like it's being played to BE critiqued, there's a level of performing-to-blow-away-the-listener that is strangely not there. I think this is part dryness and part the way the vocal is not way in front of the other stuff- you can't pick out the vocal as being a 'special' instrument so you decide that the whole is to be listened to and inspected for mistakes. Kinda neat but it's missing something. Kind of like how politicians are supposed to have a bit of rock star in their soul so that crowds turn THEM on and they perform? In this mix, it sounds like a band of capable sidemen waiting for a star. Shoving the singer forward a LOT would help more than you know- he's apparently standing with the band. Brightness, compression and saturation- push him right forward to the front. Think Phil Collins solo stuff.
Daunt- one of the poor saps who followed Dye's naming instructions perfectly down to the here-a-hypen, there-an-underscore madness. Dude, my heart goes out, I love you. Okay, so, onward. I like the intensity and drama of the lead vocal, this is the kind of dramatized vocal treatment I can get behind. And, you've got pretty much as good dynamics in that vocal as Pimp-X had, except in a slightly different way, sounding maybe louder in the louder bits! I love hearing that stuff, when a vocalist cuts loose so hard the air practically rips. Background was fine, seemed to move right and did nothing to break the spell. I think you've got one of the better mixes, notwithstanding that you couldn't resist some echoes and tricks on the vox. I'm also interested in how you got one of those bright obnoxious hi-hats to not bug me- maybe you just have the vocal so strong that it overpowers the brite cymbal stuff? Anyway- GOOD job, this is amazingly gutsy and honest-sounding for the production level it's at (pretty sophisticated).
GreySound- More of the verb camp- at least it's a pretty lonely reverb. Kind of stark. I'm not sure how well it works to have the ambiance sort of brooding and reflective... weirdly it feels like I'm looking DOWN at the band and singer, why does it feel like a low ceiling? This is the Cavern Club or something. I gotta say, it IS dramatic. It's got my full attention. Whatever it is, something about it works.
iCombs- trying to figure out what i think of this. I can hear the kick sample. Maybe it's a hint of that way that some mixes seem to file stuff into little boxes, like frequency ranges? The vocal seems far and not so much detached, but I have to listen into the mix to go and find it, it's not coming to me. Something about this is all visual but the physicality isn't so much there. And I mean even that kick- yeah, you wanted a frequency, but the composite is now a more complicated sound of all kinds of frequencies and there's a rawness that it totally lost. It becomes a signpost that says 'kik here!' but it's way less clear what the physical reality of the kik is because it's no longer as simple. The signpost has more clearly defined shapes but it's just not as connected to the musical force... probably a common problem with sample replacement.
zooloop- I hear crispness, on the snare, which suggests this mix is going to be about colors and textures. You might hear striking colors, or movements, or human presences- in this case, I'm getting tone colors. I'm not totally thrilled by this- it's like, rhodes color, guitar color, in the middle oh it's a vocalist color- but it offends me that these things should carry the same emotional weight because by my lights the vocal should be really impossible to ignore. I'm hearing the 'counting the points' bit, and in this mix the rhodes arpeggios feel just as important. I admit they sound cool, but COME ON. If you want the fate of that electric piano to be as important as the deer, shoot IT too. Then it can sing 'counting the tines that broke off my tonebars' or something, and we can care that much about it. Until the rhodes dies, I don't want it acting that important
Unless it's mine, if you give it to me I'll think it's ever so important
end of page THREE, feeding the cats and on to the final stretch of this madness...
May 17th, 2008, 03:50 AM
Re: ChrisJ Belated Crits Everybody
wow. very impressive chris.
May 17th, 2008, 04:29 AM
Re: MiX iT! 3d – ChrisJ Belated Crits Everybody
Named wrongly? Stay off the crack.
May 17th, 2008, 04:42 AM
Re: ChrisJ Belated Crits Everybody
likelystory- without an info zip? ...a likely story!
Nobby- Relaxed. I like how the vocal has an emotional range- it's got real dynamics, like only a few mixes, and everything seems to be fitting around that fact. It's a little distant? The dynamic range compensates for that a lot- it won't come forward but it can still be very compelling when the guy starts to project. Not super modern, not super overwhelming- pretty laid back mix, you have to go to it. It won't come to you.
Audioboy- big drums! This is working for me so far- the instruments are very laid back except the drums, and the vocal gets the focus. You're clamping the louder vocal bits a little- the emotional range is very good but its place in the mix could be a lot better, often by letting it just be louder, especially for the loudest singing. My mental picture of this was the Maxell guy in the chair- as the chorus kicks in, the idea was you'd just be pinned to your chair by the intensity of this vocalist, with your hair whipping back. You've got him mixed much more comfortably, he's not inconveniencing anyone. Heck with that!
xiangtao- Another relaxed presentation. Even- elegant? Sort of a stage-play feel, it does not have the immediacy and drama to rivet you to your chair like the emotion is happening live before you. Instead, it's like a historical re-enactment of a great tragic event, there's a solemnity and measuredness to it.
Joerogers1970- Hmmm, this is holding together quite well- and I'm getting the cinematic intent. It's definitely more than a bit retro- but by God it's working. It does feel like a pull-back on the scene in the chorus, without losing the center character. These things you're doing are not so obvious that they're distracting, but I get it- I think your experiments succeeded.
7thAngel- wow shit yikes, that's some loud shit man. Let's see if it ruins everything or not. Your texture's definitely fucked, everything's a little hard and crunchy. Okay, there's next to no difference between the quiet and loud stuff, partly because your guitar's really weak compared to how overwhelmingly smashed other stuff is. There's no hope of hitting any of the gentler vibes in the track this way, but you didn't really manage to hit a big chorus either. First things first, do some stuff that isn't distorting the 2-buss so you learn control, pay closer attention to stuff like cutting off the end rhodes decay, go from there. You're not ready to be working with slamming the 2-buss yet because you're not feeling how big stuff is when it goes past that distortion point. at the point where drums are that trashed, a LOT more stuff should also be that trashed, to balance. You're losing too much in the process.
CurtZHP- Voice-centric, so far so good. I hope I can keep the stamina up, I've been listening to this song pretty much all day long now and it's going on deep into the night, I can tell. Hopefully I can find time to eat dinner after. Okay... most of all, this feels pretty straight. That means things are coming in with pretty much the significance they had in tracking- which you can get away with- but just because it doesn't seem right to make everything huge doesn't mean you sit on your hands. I like the guys that tried something, even if it was wrong- when too many mixes sound 'straight', I've already critted more than 50 fucking mixes and my brain starts to leak out my ears. I don't hear anything more compelling here than what the tracks had to offer. Remember you can also strip stuff out, not just pump stuff up. I half killed the B3 because I was stripping it out to make more attention go to the vocal... if you can't go big, see what happens if you find something to make really small.
ChrisJmp- You said this was a headphone mix. here's how that hurt you- it's really hard to gauge the loudness of sharp pokey things versus sustaining things. That vocal is really skinny, some of the drums are much too big, the rhodes sometimes sticks out far too much. The overall effect is like you're INSIDE the mix instead of listening to it. Now, some of the other mixes were so distant and 'live-like' that they lost immediacy. You've got all kinds of immediacy but it's hollow, empty- this has a huge amount to do with the headphones. You'll want to move beyond that at some point, most likely.
Extreme Mixing- no project file! Skipped.
Gitarted- OTB, eh? That and a certain amount of info posted means you made a good-faith effort to do a 'project file' that can't exist outside the OTB board, so- nice and solid, this SOUNDS out-of-the-box. I like the vocal being strong. There's something generic here, though- like it goes to a big chorus that's the usual sort of big chorus, like it clamps the vocal a bit because that's what you do when the vocal gets peaky- the thing is, this song could've taken a lot of different treatments. This mix is wearing a RAWWWK! suit. A very nice one, a high class one, but you know it didn't necessarily need those drum treatments, they just SOUND good. Anytime you go to a habitual treatment- and don't we all? it just gets more generic. I think you did better than those who tried to take it in a poppier direction, but this is still an off-the-rack suit.
NuDub- I checked to see if you had an info file IN the zip that holds the music file, but nope. Skipped for lack of an info file.
DeMontague- ec-c-c-choes! Loud, too. Hey, this isn't half bad, the emotiveness of the vocal is way up there, and the chorus is real big. In fact you're hitting lots of the key points of the song right. There's a spaciousness there in spite of how loud it is, and I'm not tending to think of faults, I'm drawn into the important parts, the vocal, the big scale of the dramatic parts. I think this is very good, well done don't be fooled by your drums not being big and splashy- they're in there working! You're getting an overall feel that I think is good. Throw fatter drums on there and you could fuck it all up, for all you know. NOT EVERYTHING CAN BE BIG.
GeeWhoLeeo- another OTB mix I see. You could've talked more about your 'info' since your remarks are ALL we get, but I'll count it. This is big and solid, but I'm not getting that much else- you're riding the console a little, depending on the way it's sounding solider and warmer than ITB stuff sometimes sounds. You're getting a sort of big roar, a big rock sound, OK gain staging but I think you're pushing the drums through the console rather hard, but I'm just not feeling the character. OTB is not enough, think about what stuff you want to have lots of headroom on and what you want to be slammin' because it sounds like you're not MAKING decisions of that nature. It's all big but why is the funny ring mod rhodes fuller than the drums? Why is the vocal also a bit clamped, stifled on top? You've got to look at your gain staging harder. You're just running too hot through that console and it sounds congested.
Mixtressgina- no info file- it was supposed to be a zipped copy of your Logic project file
Superloud- oh really? We'll see. No thankfully it's NOT super-loud. but I like the energy being shown here- there's space in the mix, but also some kick and aggression, and when it goes big I hear more drum room and size in general. The vocal has a naturalness that seems to me like I could continue to like it for a long time- I want more hype and compellingness from it, but there's an unforced quality which i think will wear well. Call it a 'sleeper' mix- I would never single this out and go OMG GREAT!, but I could see returning to this mix again and again without getting tired of it.
Hitting the chocolate-covered espresso beans now, so if I start to type KFHGHFJKNSJKFGSh! you know why...
Padje- I like the vocal, it feels like a focal point. In general it feels like there's a hierarchy of attention, which is a good thing- it's all about the vocal, and then the melody instruments like keys and guitar. You're doing something similar to me with the B3- it's all vibe but the notes aren't as clear as the overall feel. I think you threw the B3, bass and drums under the bus- they still do their jobs, but they don't try to take over or ooze star quality in your mix, and I think that was the right decision for the song...
Nudub again- still no info file, woops!
Kmarkb8017- wtf, this is an old record? um ok. Plus we're in a cave for some reason. It is at least a spooky cave... spook-o-rama. It kinda stays in the cave... drums move like old Blue Oyster Cult, lots of whoomph... I don't think this really brings much to what's there in the tracks. It's a ghost story, except it's off an old LP? Imaginative, but as an interpreter you're seriously hijacking the point of the song.
DirtyDigital- what the fuck is this, 3,000 kbps? There was a specific bit rate to use, which you're totally not using. To no benefit, as the mix is all headphoned-out: pokey little things not balancing and coming from arbitrary place. Kick the headphone habit, and read the instructions more closely, and you'll keep on learning- you're in the right place. But your mix does not balance outside of your headphones and doesn't sound right on speakers.
Dino- Solid and big, spoooooky reverb doood- probably the most plausible faux gunshot distracting ridiculous effect it's good that it's ignorable, some of the ones people did were really hilarious. This chorus section is funny- it's sort of thick, are you sure notching the bass was that good an idea? And the guitars are damn near quieter than I had them, they're just lost in the woods somewhere. Could be a lot worse, you've got the vocals good and strong- but it doesn't really feel that finished, probably because you can hear things like the guitars being really lost in the mix and that thickened bass. I think you took all the motion out of it- hunter killed the deer and you killed the bass. It's dangerous to go for even-ness in a sound to the extent that it goes too dead. I'm sure all the notes are consistent volumes now, but...
Ye fucking gods, done with page 4. On to page 5 and eventual, pitiful collapse in a pile of chocolate covered espresso beans...
May 17th, 2008, 04:58 AM
Re: MiX iT! 3d – ChrisJ Belated Crits Everybody
Knastratt- I know, it's bullshit and I'll never do that again, but I told everybody I was going to skip anything that didn't follow directions exactly.
Turned out to be such a trainwreck that I ended up more just skipping anything with no attempt at an info file.
YOU have an info file, you just didn't tack '-MIX' onto the end of your mix, which we were all told to do, and a lot of us painfully got every weirdly-capitalized MiXiT and hyphen and underscore and all in the right place.
But it was SUCH bullshit and such a trainwreck that I was an idiot to attempt it in the first place, and you not only did an info file but it's a PDF almost as big as the music file- so I fucked up, and here is your crit. Anybody who DIDN'T have a kickass info file and all their other ducks in a row, don't even start- I did wrong to skip Knastratt. Intermission before tackling page 5...
Knastratt- right away, this is a good balance, with a strong vocal and everything else sitting properly. Is that it? Mmm not really, you've got one of the stronger emotional vocals. Some people were able to carry tones of voice better- you've got that clicking very well. Vox could be hotter, they're in balance with the rest of the music and this is one desperate vocal and deserves to be as compelling as you can stand it. Other instruments have a way of staying out of the way, though there were a few hints like B3 parts that became very good tone colors for that moment. I'm finding the bass guitar really boring, but at the same time I wouldn't want it to be distracting- I'm finding the drums boring and too separated out into frequency ranges, but same deal, all that does is restrain the force of the overall song and allow the vocal to dominate. If I was changing it around, I'd pull a Charles Dye on the bass and allow MUCH more midrange so it was more forceful, and I'd allow more mids on the kick- and then push the vocal harder so it would still dominate. I'd offend some people but it would be more exciting. I think you're handling the vocal great but taking no chances of distracting from it, and you can also take those chances and then amp up the vocal so it can compete.
There you are, one of the longest crits- and you were right, i shouldn't have skipped you, but that was the first page and by page 3 or so I'd worked out that my main criterion was 'did the person ignore the info-file thing'. Apologies for the initial fuckup.
May 17th, 2008, 05:32 AM
Re: ChrisJ Belated Crits Everybody
Chris, you are a champ for doing these in depth reviews. In a marathon session no less!
Totally relate, my friends get scared when I eat those things
Thanx for your comments, greatly appreciated!
May 17th, 2008, 06:04 AM
Re: MiX iT! 3d – ChrisJ Belated Crits Everybody
Page FIVE! And final! Ye gods is this a death march. I'm going to have dinner and chill out after this even if it takes until 5 AM. No chance of doing any other work, not tonight. Or even playing games or harassing people on forums.
..once I've finished harassing people on THIS forum ahahahah!
Wintergod- Glossy! Wintery! Dare I say icy? Thank you for not sucking all the mids out of the VOCAL- I hear what you're doing there, yes, with the sucking of mids, and sure enough, your mix hints at being bodiless and very 2008- I don't think it's too much though. Really, I'm not hearing a lot wrong here, hell, your vocal is making it hard to type it's so compelling. It seems like you're carving away madly at anything that gets in the way of the vocal. Could do a lot worse. Also, watch it with stripping out mids around the bass- what happens is the bass and kick become very bassy, but the spine of the mix is broken and it becomes a bunch of glitter on top of a pile of goo. Some of those mids you're going after are the muscle of the mix, be careful with that surgery.
MacGregor- hey, coincidentally, a kick that's got muscle because it's not got all the mids sucked out! This sounds good though the kick is maybe kind of distracting, let's see how it handles the big stuff. Yeah, that basically works- this is another one of those basically right mixes that isn't doing anything super radical, which is funny because Mac seemed to be saying he was working some radical move but I'm not hearing it, I'm just hearing a strong mix with expressive lead vocal and an exaggerated kick. I'm not hearing anything incredibly amazing but nothing to bitch about either. Good one, I liked it
tnelson494- hey did you know you're using a bit rate LESS than you're allowed to do? We'll see if that matters with AACs! Hmm, this is good emotiveness on the vocal, maybe a little over-emo? Everything else is seriously underplayed, and the sound picture is a bit retro, stuff is rather narrow and distant compared to the more current mixes. It doesn't sound bad, but it sure doesn't sound 2008, in fact if you don't already like that wall-of-sound thing I would call this too murky. it's the strength of the vocal that rescues it. But it feels like a sixties track or something.
QueziRider- whoa, we're REALLY trying to leave space in the mix, are we? Drums and bass are fairly hot, vocals are balancing, anything else is seriously trying not to step on the other stuff. Wow, aggressive tom-tom use, really jumps out. On the whole this feels really, really open. However, it's not really driving the concept of the vocal home that much... it's great to listen to, but I spent the whole time going 'ooo toms!' and tuned out the vocalist and his plight. He didn't sound that much like he HAD a plight. Maybe I'm just about to faint but that does seem like a problem- maybe it's partly just the vocalist not being mixed hot enough to be grabbing attention a lot? I say it's a kind of mistake in THIS SONG to not have the vocalist grabbing attention like crazy. What better excuse than "I'm DYING you FUCKER, you SHOT ME, you LISTEN UP"?
Bleen- I'm not even going to sweat the deadline since Charles never closes the thread after it and nobody respects it... though I could be DONE NOW... ahahaha... well, what we have here is a good amount of the emotiveness of the vocal, and a light kickdrum, and heavy guitars and things. All in all it sounds good, though it's got a funny Rush-like thing where lots of the tones are extra pretty but there isn't much rawness there.
Myklynyrd- butchered, huh? Well, you did choose to throw a tremelo on the overheads, unless everything is more fucked up than I can even imagine. Yeah, there's a weird hardness that might be your overs. I don't find this to be a quiet mix, what are you thinking? It's one of the louder ones, back off. Something's broken with your drums- something's just weird. This isn't all you, except maybe something mis-set: something is damn flaky in this mix, something is BROKEN. Unless you're automating tremelos and pops and ticks, this isn't all your fault. Good luck sorting out whatever it is.
Studjo- no info file
Prunelle- still no info file
Dubnick- dude, I shouldn't be including you but you've written two screens full of mix notes. Oh, and you're not using the right bit rate. The effort on the mix notes gets you a listen. Okay, this is some upfront and intimate vocals- everything else loud and produced with occasional stupid-mixer-tricks that chorus is working well for you, the guitar sounds kinda cheesey but it goes under the vocal very well. This is a layer cake- one of the best-vibing examples of that 'everything in a frequency range' thing. Possibly because you're finding ranges that work, rather than trying to impose ranges that you think OUGHT to work. It becomes a variation on making things more like what they are, rather than trying to shoehorn them into some idea of a generic track.
Paulie- dammit, you too? Again, the effort to provide mix notes gets you a pass. Whoa sensitive! it's like a whole different singer! This really has something going on with the more sensitive vibe- kick not so thunderous, vocal gentler, but when the chorus comes in that vocal CUTS LOOSE man. Except, why isn't it louder? The tone you're getting, you could really blow people out of their chairs. Maybe it's actually a bit distorted and electronic, actually- but so what- especially on the first chorus, I'm hearing a tone there that just cuts through the background. I think you're on some kind of a right track here.
Cheech- not enough mix notes, gotta draw a line SOMEwhere, I'm exhausted.
IntelDoc- you know I went back and looked at that first page and you were putting lots of mix notes too. This is your FIRST one. The unmastered one, isn't it past the deadline? Holy shit, loud. So so loud. Funny how it's holding together a certain amount, but this is silly loud man, give me a break. I am liking how the tambourine works almost like a clock ticking- but seriously, everything is so loud. It's weird how good this is in spite of how bloody loud it is, it's got some of the right moves. But there's an aspect of it just sounding awful because of the loudness, everything rips and crunches. You shouldn't waste your talent on brainless loudness, you're better than this.
Annex2- not enough mix notes (you were supposed to post a session file, not just mix notes!)
Mikey MTC- This is big and solid- there's a physicality, particularly on electric bass for instance. Vocal is strong, but it's weird, it's like it's got a bit of body and confidence added to it that changes the performance. It's like the performance is changing around so it's a bit tougher here, a bit breathier there- not in a way that helps much, just sort of drifting from the original performance. I wonder why i'm getting that impression. I do like the bass- the mix feels big and all- it's just that it's somehow changed attitude a bit.
Dubnick- cool man, that's really making the effort.
Hiphopdaddy- um ahahaha, that's not making an effort to post mix notes or your project files at all. No soup!
Angelbomb- never did get around to posting that session file, woopsy
prschmitt- ROFL! "ChrisJ is coming, ChrisJ is coming!" To arms, to arms! Well, this is kind of lush and quiet, pillowy. I actually kinda like this drum treatment, talk about mellow. The vocal also has a particular directness, really unvarnished and honest, and it always stays on top of everything. I think that's right. The music is real mellow and smooth, though the guitar is frizzing out on chords- something about it is raspy. All in all this is fun to listen to though it's not real commercial.
OMG, I finished! *faints*
LATER! I am so out of here! Time to make a late dinner!
May 17th, 2008, 06:12 AM
Re: MiX iT! 3d – ChrisJ Belated Crits Everybody
And that is something like- seventy-five mixes, pretty much every one given a listen right through to the end of the song, and a paragraph or so of writing for each.
I am NOT promising that I'll ever do this again. It might become necessary to make up some rule for which I'll do and which I won't. "following naming guidelines" totally didn't work as a rule. I think 'skipping people who didn't include project files' SORTA worked, in a way. There seems to be nothing that doesn't give you some kind of gray area...
Okay, Charles- now YOU do this!
May 17th, 2008, 06:22 AM
Re: ChrisJ Belated Crits Everybody
Thanks for the review...
well you understood what I wanted to convey and thought the song conveyed...a loud rocking chorus. I felt the emotion in the chorus so that's what I went for, but that pushed me into a corner on the bridge. However, I guess I got it wrong based on MMs comments.
Music, you see, is sort of like screwing — you don't think about the past or the future and you don't think about what makes the wheels turn. You're inside the creative space, you're in the moment, and so there are no thoughts of manipulation. - Robert Margouleff
May 17th, 2008, 07:21 AM
Re: ChrisJ Belated Crits Everybody
Thanks for the effort Chris.
May 17th, 2008, 07:51 AM
Re: ChrisJ Belated Crits Everybody
May 17th, 2008, 08:49 AM
May 17th, 2008, 08:55 AM
May 17th, 2008, 09:04 AM
Re: MiX iT! 3d – ChrisJ Belated Crits Everybody
"IntelDoc- you know I went back and looked at that first page and you were putting lots of mix notes too. This is your FIRST one. The unmastered one, isn't it past the deadline? Holy shit, loud. So so loud. Funny how it's holding together a certain amount, but this is silly loud man, give me a break. I am liking how the tambourine works almost like a clock ticking- but seriously, everything is so loud. It's weird how good this is in spite of how bloody loud it is, it's got some of the right moves. But there's an aspect of it just sounding awful because of the loudness, everything rips and crunches. You shouldn't waste your talent on brainless loudness, you're better than this."
Huh.... Dude, ya sure ya listened to the UNMASTERED one? Pretty sure you listened to the MASTERED one there amigo, but thanks I guess. The whole reason I had my second post was to put the "unmastered" one up that was sitting lower and that too was evaluated by Mr. Dye himself on a PAZ to be in the green. I prep all my work to go out to mastering at -7 peak with around -21 RMS. This was around -15RMS when I was done with it. When I "mastered" it I set it to around -10RMS and yes I did that on purpose. So, thanks again for your response, but I still think that you listened to the first one that was mastered. That is why I so nicely sent you links to both on a earlier reply. And for the record.... I by no way, shape or form like to master... That is what ME's are for and I use them for pretty much ALL of my projects.
Just saying man...
This one is definitely LOUD....
Best, and thanks for the comments. I think if you hear the unmastered one that I linked above you would probably look at it in a diff light.
Thanks man.... seriously
Last edited by IntelDoc; May 17th, 2008 at 09:36 AM.