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Telefunkin wrote: ↑

Wed Jul 20, 2022 1:32 pm

Hi again Brian, I know this is not easy but attention to detail is everything in making these tracks. You now have a better intro and the mix level is somewhat better, but in lifting the tremolo guitar it now dominates the mix. However, other things keep popping up that I think you intended to be the lead, so its a bit confusing which instrument is demanding attention. If you listen to the ref tracks (and any other commercial production) there's something taking the limelight while everything else supports it. Imagine a great band doing a gig, where you know who's the main singer or who's playing lead, whilst the rhythm sits back to lends momentum, the bass holds down the low end without getting in the way, etc, so although everyone has their own individual great sound they're playing with sensitivity for the other members of the band to produce a cohesive overall experience. If you approach the mix in that way you should be able to make it sound like all the parts are being played at the same time in the same room. As before, some of the parts still need some sonic polish to get a more attractive sound with no audible edit points etc. The ending is now less abrupt and sounds more composed, but its a little untidy in the final ring-out with parts ending sharply at different times. Again, you wouldn't hear that in commercial tracks.

So, well done for taking some steps forward, but I would still suggest being almost forensic when listening to all the individual parts and their transitions too, then how they all 'sit' together at every point in the arrangement, and finally how they fade out. For me, the balance is out, the piano might be a little dark, there's an occasional nice bright guitar part that's barely audible, and things are pretty dry so some nice room reverb could help sweeten some of the parts (like the arp acoustic guitar). Maybe you don't even need some of the parts, and might be able to sharpen up the arrangement so the chord sequence fresh by simplifying what's playing at any particular time as you bring the different layers in and out. Make sure every part earns its place by adding something good to the mix without cluttering it. If it doesn't then mute it.

Sorry if that's a lot work on but I hope at least some of it helps. Its not an overnight process finding ways to get such things right but its all do-able with some critical listening. Good luck .

Telefunkin wrote: ↑

Sat Jul 23, 2022 8:58 am

Hi Brian, I know you're trying, and I'm also trying to help and not just be 'on your case' .

When I listen now I hear the trem guitar parts very dry and upfront (in my face), and everything else 50 ft away in the background and barely present, so it doesn't work as a mix that shows off your piece of music. At least the simpler arrangement should help avoid a cluttered mix and parts competing for attention.

Can I suggest that you find some music that you like of a similar style, and drop a version of it in your DAW alongside your track, so you can switch between the two? If you can do that you'll be able to compare what's going on more easily. When you listen to the ref track you'll hear some parts (eg voice. lead instruments) take centre stage, but they'll be supported by all the other instruments. Its important to grasp that concept of everything playing not only at the same time but in sympathy with each other and in the same space. You can hear everything that everybody is doing, even if some players are a little quieter or slightly further back in the mix than others. If you can't hear them then they might as well not be there.

The sense of space or ambience comes from the recording or more likely from adding reverb. Without that the instruments can sound quite false. You certainly don't have to bury things in reverb, but its amazing what a very small amount of room reverb can do to lend a more natural sound to things. Try a little on the trem guitars. Not too much or it will sit them back too far. thyen one by one bring the levels up on all the rest of the instruments until they sound like they're on the same stage or in the same room as the lead parts, but spread them across the stereo in a balanced way and also add a tiny touch more of the same reverb to those too. Now keep swapping between your track and the reference track until you get some sense of things being in similar balance and that your mix is working (everything audible, supporting the lead, but not competing, and nothing jumping out or dominating).

That's just a very rough and incomplete recipe for starting to get a mix together, and although its simple its not necessarily easy until you get a 'feel' for how to make it work. Previously I suggested some sources of mixing information, and whilst its great practice to keep jumping in experimenting, its also seriously worthwhile to keep listening to commercial music and figure out what's going on, plus watching some home recording and mixing tutorials from the people I pointed you towards. It'll be frustrating for a while and it might feel like you just can't get it right, but you will . It just takes lots of practice and patience coupled with delicate moves, careful and analytical listening, and a willingness to keep learning. We're all still learning. Best of luck to you .