First, stop comparing your stuff to someone else's. What their stuff sounds like is totally irrelevant; what counts is what your stuff sounds like. Especially when you're trying to compare what your doing in your bedroom with 4-digits-worth of equipment and no experience to those who have dedicated their life to this stuff and put that experience to work with 6-digits-worth of top-shelf gear.
G.
What I think i'm needing to find is more depth to my tracks, I have guitars panned left and right 100% so I can't expect much more from the stereo spectrum I suppose.
But my tracks are a little flat and need more depth so that what I should have said in the first place, am i missing a technique to this?.
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Well first of all, this isn't about business, it's about art, it's about crafting a sound. And the only thing that matters is how that sound actually sounds, how some other sound sounds has no relevance to that whatsoever. Does that steak you had last night become better or worse tasting, tougher or more tender based upon the steak you had today? Did you have to wait until today to decide how last night's steak rated? Will that color of that that sunset you watched while eating it last night change because of tonight's sunset?I don't agree with this at all. We should be comparing ourselves to the big guys so we have goals, listening to their mixes and our own side by side.
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In every other business or activity, we are comparing ourselves with others, why would it be different in art, music, mixing??
Without hearing what you have, one can only guess at what's going on, but depth comes from dynamics, and dynamics start with a dynamic composition and arrangement (not every instrument acting like it's all lead instrument all the time), continue through a moderation of recording levels (not pushing everything to 0dBFS during tracking), a liberal amount of fader jockeying during mixing (not just setting a track level and laying it on top of the other tracks at a single level, but dynamically shaping the overall mix to support/augment the arrangement), not using mastering to try and make your mix sound good, but making sure your mix sounds good before you move to mastering, and finally, not trying to compete with commercial loudness levels if your mix just does not want to go all the way there. Push it until it starts to sound like you've been pushing it, then back off a dB or two. If it's not as loud as Ga Ga or the Goo Goos, so be it. Better luck nest time.What I think i'm needing to find is more depth to my tracks, I have guitars panned left and right 100% so I can't expect much more from the stereo spectrum I suppose.
But my tracks are a little flat and need more depth so that what I should have said in the first place, am i missing a technique to this?.
I'm using Ozone 4 to master but being very cautious with it as I don't want to compress the life out my music and sound like Lady Ga Ga lol
Muzza.
Without hearing what you have, one can only guess at what's going on...
Yes i've panned my guitar tracks maybe a little too wide, i'll try 80% L&R and see what happens, that gap is something i think I had noticed but not linked it to the guitars.
thanks for the great input!
Muzza
The problem isn't the hard panning of the guitars. Everything in the first mix sounds scooped, meaning you've pulled out all that beautiful mid range that we like in our rock music. Your other major problem are the drums, which are way too ambient. Don't get me wrong, I love a big room sound, but you need a cracking snare and punchy kik for this kind of track, and this will probably help with your "depth" issues. There is no depth to sound when you can't pinpoint any part of the sound source.
In a stereo image there are planes of space: panning—left to right; frequency—up to down; balance—front to back; reflectivity—far to near; and contrast (dynamics)—sparse to dense. (I go into this in great detail on this in my book).
There's nothing wrong with using LCR techniques when mixing (Left Center Right in which parts are hard panned). If you don't pan your guitars hard you're not using the full breadth of your stereo image, and if you think about it, that would really be no different than putting an HPF and LPF on the entire mix to reduce how much of the frequency range you use. In either instance you're reducing one of your planes of space. In this particular case, the reason people are even noticing the guitars is because you have no close source information in the middle of the mix. Part of this has to do with no real melody instrument, which would normally take up the middle, the other part of this is the lack of a pinpoint close snare and a pinpoint, hit me in the gut close kik source.
Enjoy,
Mixerman
Your other major problem are the drums, which are way too ambient. Don't get me wrong, I love a big room sound, but you need a cracking snare and punchy kik for this kind of track, and this will probably help with your "depth" issues. There is no depth to sound when you can't pinpoint any part of the sound source.
Yes, I can see why it might be so confusing.
First, I didn't say that you scooped your midrange, I said it "sounds" scooped. Second, I don't know how anyone can listen to those mixes and think the drums sound dry. It's all room mics. Yeah, it's obviously not a huge concrete room or anything, but I'm hearing all distant mics and little-to-no close mics. This isn't even remotely debatable.
Let's try this. What's your favorite record in this genre? Actually, name me three references to what you're trying to achieve.
Thanks,
Mixerman
NOTHING creates "depth" and "space" in a mix like DEPTH and SPACE.
Mic everything from 6" away and you can expect a mix that sounds 6" deep. Add as much reverb as you want, the source is still going to sound 6" deep with a detached and disjointed reverb wash behind it.
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Anyway - "That 3D sound" generally comes from actually using 3 D's.
I think what i will have to do is make do with what I have already tracked, fix the drums and next time approach the recording much more differently to capture the depth of sound needed!
Muzza.