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Been away. Listened again. Lovely. My attention got taken by the groove, which is always a good sign. You understand groove. 8-)

Listened to the remix. When it started, I thought: 'It's too bright or lacks some low end,' but then I realized it was just the opening guitar that gave that impression. I have a question: Has anybody ever mixed a given track in a mix (eg an electric guitar track) with different EQ at different...

BTW, I asked about whether you compressed on the way in because I read your post in the Mixing Forum talking about that. (I never compress on the way in - for one thing, there's no need to. Why? Because with 24-bit recording, you can just lower the recording level to something that doesn't clip...

I like the second mix much better.

I use parallel compression on a track with uneven levels (eg vocals) when I want to bring up the level of the quiet stuff without affecting the peaks. I can be gentler with the ordinary compression then. No, I meant that the lyrics are ultra clear and easy to hear. You were concerned that...

Did you compress any of this stuff as you were recording it? In answer to your question: It's not only easy to understand what you're singing, it's too easy, if you know what I mean.

Nope, but I'm wondering why people don't reference this or that post from each forum to illustrate what they're talking about. I don't think I've ever seen that. Maybe people just aren't that into talking about approaches to mixing on this site. Or maybe people from this forum tends not to...

I wonder why there's not more connection between the two forums.

The mp3 Forum is the forum most closely allied to this mixing Forum, right?

Yeah, that was what I was talking about, and probably how I would deal with it. But I'm still not sure, because: * I'm currently looking at a mix as a hierarchy of three levels: what you want noticed, the second tier behind that, and everything else. * You can make a mix element more...

Good idea you got here. Another good idea would be to consider all the comments about the high end on the guitar. The idea about vocals was good too, I thought.

It's a good 'un. I've listened to it three times, because although it sounds good (which means it *is* good), the space on the vocal pushes it back in the mix further than the first picking guitar. The cellos seem right. But I'd love to hear it with the vocal just a taste drier and more forward...

Ride cymbal. I can hear cymbal hits, but not a ride. Is there one?

You sure there is one? If there is, good call lol.

Nothing wrong with new shoes. Let the little fellows shine.

Well, it ain't techno but it's really good. Yes, the tune is about how that big, grand swagger moves - that's the star - but that interesting twiddly stuff you got going on in the middle is getting drowned out, which is a shame, because it's the counterpoint to the main groove. Bring it out...

Ha! Mute tracks, but don't add tracks. Not a bad rule of thumb.

I don't know anything about techno, but I like this one. I like how its breaks out of regularity periodically. That bit of maverick sound at 0.49 - you could have used that sound and that approach more, and if you explored that approach, the piece could have been longer. I really like what the...

I love when the snare comes in on the refrain and miss it during the verses. Good work.

Yeah, that was my main impression too - it's an important part obviously, but the highly percussive relentlessness of it gets overbearing. What's the fix? A simplified chording part during the verses so that it steps back and then bring the arpeggiation back when it's featured? Or just the mute...