"Any Flavor You Like".....Taste some new RAMI.

CoolCat said:
well maybe when your done with it you can post a summary or screen snapshot. it'd be good for the mixing clinic, probably. i know im always curious how many tracks were used etc..etc.. gearhead shit.
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I got no problem with that. problem is, it will probably take several screen shots to see inside folders and effect chains, etc....But once I'm done with it, I can try topost as much as possible. I think you'd be surprised at how little I actually have going on. :cool:
 
OK, I think I finally addressed my new monitors/woolly low-end issue. I've been listening to a lot of music today, really paying attention to how low end translates on my new monitors and I think I might be getting closer. Pretty sure the kik and bass drum are less mushy now.

If you guys don't mind giving it a another listen when you got the time and letting me know if I'm going in the right direction. I really feel as though I'm starting over as a beginner here. Never thought dealing with new monitors is like dealing with a new pair of ears. It's nowhere near as easy a transition as I thought it was going to be. :eek:

Thanx guys.

ANY FLAVOR YOU LIKE
 
Gave the new mix a listen on my headphones. Sounds good to me, man. I still like the middle bit - even more now I paid attention to the transition in and out of it. I think the only thing I don't like is how distant the snare sounds.
 
jonny deep said:
Gave the new mix a listen on my headphones. Sounds good to me, man. I still like the middle bit - even more now I paid attention to the transition in and out of it. I think the only thing I don't like is how distant the snare sounds.
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Thanx Johny. when you say "distant", it gives me the impression that you mean something other than just "not loud enough", or else you would have said "not loud enough", right? Just trying to figure out if I should just turn up the snare, or if the issue is one of sound or something. I think the snare sounds a little hollow, so it might always sound "distant" even if I turn it up. I might just tune my drums up and re-track the drums at this point, if that's the case. I will try turning up the snare first, to see if that helps. Thanx a lot.
 
Just had a quick listen again and I think I mean far away - I like it right in my face! I don't know, maybe if the drums were a smidge louder it would fix it for me. See what everyone else says - they'll probably disagree with me!
 
Hi Rami, I don't have much to add re: the mix itself, it all sounded good to me, nothing stood out as wrong, any opinion here would probably just come down to issues of personal taste, conditioning and bias. If it helps, as far as the digital glitching that Pinky mentioned, heard them too, nothing massive or obvious, a little click like a piece of dust on a vinyl disc. I just listened to the song first time through while reading the thread, and didn't even notice until i read the comment about them. The one at 1:58, around the end of the first bar of the breakdown was probably the most obvious, and 3:24 right near the end is pretty easy to hear too. I guess it is nitpicky stuff, and i'm not trying to be critical, but if it was my recording it would bug me, while most people would probably not notice it if they are just listening to the song, not criticising the production. Oh yeah, i listened a few times, and it definitely grew on me, nice work - vaguely reminded me of Matthew Sweet for some reason - hope you don't find that offensive :)
 
jonny deep said:
Just had a quick listen again and I think I mean far away - I like it right in my face! I don't know, maybe if the drums were a smidge louder it would fix it for me. See what everyone else says - they'll probably disagree with me!
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Cool. I think I addressed the "distant snare" issue. I had my snare compressed too much, so by the time it hit the limiter during "Smashtering", it was being choked way too much. I rolled back both the drum compression and the master limiting. I hope it's better now. Thanx buddy.

Anders Erisian said:
Hi Rami, I don't have much to add re: the mix itself, it all sounded good to me, nothing stood out as wrong, any opinion here would probably just come down to issues of personal taste, conditioning and bias. If it helps, as far as the digital glitching that Pinky mentioned, heard them too, nothing massive or obvious, a little click like a piece of dust on a vinyl disc. I just listened to the song first time through while reading the thread, and didn't even notice until i read the comment about them. The one at 1:58, around the end of the first bar of the breakdown was probably the most obvious, and 3:24 right near the end is pretty easy to hear too. I guess it is nitpicky stuff, and i'm not trying to be critical, but if it was my recording it would bug me, while most people would probably not notice it if they are just listening to the song, not criticising the production. Oh yeah, i listened a few times, and it definitely grew on me, nice work - vaguely reminded me of Matthew Sweet for some reason - hope you don't find that offensive :)
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Thanx a lot Anders. I don't take offense to anything. I'm here to learn and improve like everyone else. I just went and took a listen to Mathew Sweet. I wasn't at all familiar with his music. I liked "Sick of Myself" and can see myself writing that type of tune. Pretty cool. Thanx for the listen and comments. :cool:
 
HI RAMI

There's something else I might suggest here. After the main guitar intro, and right before the ascending 3 note line where you bring the band in, your timing is locked into the click (I assume) through the DAW. My ear actually wants a bit more of an exaggerated pause there before the 3 note lead in, and also maybe even making that lead in itself slightly elongated or exaggerated - like it's dragging before picking up on the one back in real time. But I'm flummoxed on exactly how to pull this off in a DAW where I'd still want to use BPM. Do you know if this is possible -- ie, starting with a click and BPM defined - then having a measure or partial measure switch to a time base, then having the DAW go back to BPM? Is that how you'd do it?

If I was trying to do something similar at home - how would I temporarily escape from the locked in time of the DAW? What's the best way for a DAW to handle starts and stops that want a more organic time base -- or a time base not locked into the tyranny of a click?
 
First listen: the snare seems louder and closer to the listener than the singer, which is a bit unusual. The snare could probably be just as loud if you put some more space on it to push it back in the mix. Aside from that, the main impression I have is of a rather bright mix overall - you've definitely got some wiggle room if you want to add some warmth back in lower down.

Second listen: the kick and the bass seem perfect for the mix you've got here. Maybe it's just that I'm getting used to the mix, but the brightness doesn't seem as noticeable, except of course for that opening guitar on the right. Maybe mult that part and EQ it a taste differently? Just a thought. Really nice tune, nicely done.
 
DogsoverLava said:
HI RAMI

There's something else I might suggest here. After the main guitar intro, and right before the ascending 3 note line where you bring the band in, your timing is locked into the click (I assume) through the DAW. My ear actually wants a bit more of an exaggerated pause there before the 3 note lead in, and also maybe even making that lead in itself slightly elongated or exaggerated - like it's dragging before picking up on the one back in real time. But I'm flummoxed on exactly how to pull this off in a DAW where I'd still want to use BPM. Do you know if this is possible -- ie, starting with a click and BPM defined - then having a measure or partial measure switch to a time base, then having the DAW go back to BPM? Is that how you'd do it?

If I was trying to do something similar at home - how would I temporarily escape from the locked in time of the DAW? What's the best way for a DAW to handle starts and stops that want a more organic time base -- or a time base not locked into the tyranny of a click?
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You can do this by using a tempo map to temporarily slow things down.
 
Hey ... you took that little ditty with the killer riff and developed it into a full blown piece!

It came out GREAT! Interesting to see the melodic overlay you came up with. Works great!

No nits -- as per usual.

Kev-
 
DogsoverLava said:
If I was trying to do something similar at home - how would I temporarily escape from the locked in time of the DAW? What's the best way for a DAW to handle starts and stops that want a more organic time base -- or a time base not locked into the tyranny of a click?
Click to expand...

That one's a bitch. I've struggled with it myself in the past, and the only thing I could come up was a click track that was actually a track in the session, and I could use automation to silence the click when the tempo of the playing changed. The problem is with how the click starts again after the silent segment. I used a two-clicks-at-a-lower-volume thing as a lead-in, and then started playing again when the click track was at normal volume. But it's such a clunky way of dealing with it. There must be metronomes that you can program.
 
dobro said:
First listen: the snare seems louder and closer to the listener than the singer, which is a bit unusual. The snare could probably be just as loud if you put some more space on it to push it back in the mix. Aside from that, the main impression I have is of a rather bright mix overall - you've definitely got some wiggle room if you want to add some warmth back in lower down.

Second listen: the kick and the bass seem perfect for the mix you've got here. Maybe it's just that I'm getting used to the mix, but the brightness doesn't seem as noticeable, except of course for that opening guitar on the right. Maybe mult that part and EQ it a taste differently? Just a thought. Really nice tune, nicely done.
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Thanx a lot Dob. You might be right about the snare. I made it more present but might have over-done it since it's all I was focusing on. I'll take another listen and maybe bring it down if needed. Thanx. :cool:


Dogs, as far as the slowing down a part that you're asking about, I think Johny has one answer. Just slow down the BPM's for that part, or even that beat, depending how long the part lasts. For my song, it's a good idea that you had there. Another way to do it would be to just split the song, leave a bigger space than you need, play the "slower" part however you want it to sound, and then bring the rest of the song back by dragging everything back. I hope that makes sense to you. It makes sense in my head but I might not have explained it well.
 
K-dub said:
Hey ... you took that little ditty with the killer riff and developed it into a full blown piece!

It came out GREAT! Interesting to see the melodic overlay you came up with. Works great!

No nits -- as per usual.

Kev-
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Thanx a lot, K. It's getting there, but I'm still working on all the levels.
 
dobro said:
Nope. :laughings:
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Hehe...OK, I didn't think so.

Let me try again.

OK, let's say the part you want to punch-in is a few seconds long, let's say about 3 seconds. Split your song into 2 parts right where that part you want to punch in is supposed to happen. Now move the rest of the song out of the way to the right, so that there's a 10 second gap of silence. Now, punch in your "slower" part. Now, you probably still have a 7 second or so gap after the new "slower" part that you just punched in. Now grab the rest of the tune and drag it back so that it's touching your new "slower" part.

That's the best I got. :eek:
 
Yeah, got it now. But it would be nice to have a click set up so that you could do the whole song in one go. That's what I do usually, instead of punching in - I record the same part three or four times through. Usually the last take is the best and I use bits from the first takes for cuts/edits.
 
I agree. My idea was just an option for if someone wanted to do it after the fact.
 
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