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So ... I followed Rob's (above) lead and experimented with different voicings and I manipulated the midi track for more ever so slight randomness. Better?

Oh - yeah. It's Kontakt's ratty Rick. :D PM me your email. I'll shoot you the midi file. I would LOVE to see if you can massage it closer to a more natural presentation. You're right. I have a LOT of "elbow grease" into the part already. My approach was "softening the edges" ... but I think...

I don't normally comment on the tracking, focusing on mixing what you've got. I will, though, second this initiative. The limiting is MUCH better - but you're in the "range" where if it pleases your ear, then it is done. I'd probably bring it back another db or two nonetheless - to please mine...

The bass in this has a curious history. It started as me doing midi. It was very lame. I then reached out to the boards (here and Recording project) and Wayne Glaser submitted a perfect part for it - which was fine (for the time) as it was, note for note, spot on. As I refined the sound of the...

You're right - not RAM - McCartney 1.

Did McCartney leave this off of "RAM"? This is a prime example of how to do exactly this. It's extremely perfect for what it is - and I am serious.

I'm hearing a bit too much limiting. Everything seems turned up to the max. It's fatiguing in wince factor to listen to accordingly - and it has got a midrange nasal quality to the overall mix that is the likely result of the harder limiting byproduct. When all the frequencies are squished, the...

Nice and clean - is my first impression. You might want to listen to American HiFi to get an idea of a model to follow for this type of mix. You've bunched the middle. Take the BGVs and get them all off wide L/R. Try to have your gits fall in and around the 10 and 2 o'clock range off center...

Good Sunday Morning to you all! This quick two-fer is another quick listen to see if I got anything wrong w/ the limiting/mix on these pieces I just rolled out of production w/ new mastering tools. Both are piano based pieces - and I THINK I have them dialed in nice and clear. What I'm asking...

That's a good point to make. It's not an "all or nothing" proposition.

In studio trickery, there are 4 different snares being blended here. There's the original. Then I did a "sound replacement" additional track in Cakewalk and added their snare sound to the original. Then I converted the track to midi and added in two additional linked snare via Addictive Drums 2...

Not thought of the Doors, K - but I see the comparison. It is not my vocal. The drummer on this project, a good friend, plays in a cover band w/ his brother in law. I thought his voice timbre was really well suited to the material and asked if he wanted to take a pass at it. He liked it and...

That's part of the limiting effect. It brings the vocal "up front". I don't think I changed the vocal levels between the two. You're right, nonetheless. I agree that the vocal needs to come forward a tad in the second to be more "equal".

Limiting has a natural "nasal effect" via human ear sensitivities. When compression occurs, it is not restricted to volume alone. Frequencies come forward too. If there's a softer, say cymbal, sound, that frequency range is going to heighten in the mix as well. Limiting brings ALL the softer...

Your ears did not deceive, Ray. I also think the 2nd is more natural. The 1st has more "polish" applied. But limiting is a "sound" to itself. It increases clarity, but at a cost of sonic dimension - space "around the sound" is lost. In extreme application, it can squash the life out of the sound...

Hence my vacillation, Rich. I think the second one sounds more "natural" - even if it is a less "polished" sound. But that's exactly why I asked what folks preferred - because though I recognized the difference in limiting, I wondered what other ears found more appealing. Thanks guy!

I think the click might have been a bit much so I cut back in the 2.7k range to pull back on the beater. Thanks for the check-in Keir!

Dobro is right. This could have been a cast off from the Beatles White Album - those doo doos definitely have a British accent. :D

The funny thing about this song is the fluidity and improv around a structure. This is just what it sounded like when we performed it for the recording. We almost never played it exactly the same way twice - which is why we loved playing it live. We just would riff off each other.

It is EXACTLY what the difference is - so it makes a TON of sense. I'm pleased you heard the difference. The 2nd one has more "air" around the parts - but because of that it is more diffused and less "sonically tight". The caution is one CAN overdo the squash in the tightening. The trick of it...