OK--on to part two of the responses. This is so good for me to get feedback, especially now, because I am messing with a lot of ideas, so I need to see whats sticking to the wall and whats gotta get worked on.
Sluice--I'm gonna check into that verb. I think the whole thing could stand a smaller room and could be cut back about 20%. I learned something though. See, I mixed this on the same day I recorded it and I was under headphones for much of the time. I crank my headphones too. They are much brighter and less bass heavy than my monitors--everything sounds crystal clear under the phones. Ah--but what happens is that everything sounds kinda muddy and flat after wearing those suckers. It fatigues the ears, so going right into a mix is probably not such a great idea. Even the idea of mixing on the same day as I track is probably not a good idea. So. this one will go back to the shop for some tweaks.
David--thanks for the listen!
TripleM--I may give harmonies a try. We'll see how it goes. If they don't work, they can always get pulled off again
Alibish--wow! I really like all your comments! I live for hearing all those details because those are the things that really make a difference. I'm like a bull sometimes--just trying to plow through something when I should take more time with exactly the things you mention. No apology needed, believe me. You have a skill--its called being able to listen, or good ears! I am taking notes and will try to address all of these things in a second mix.
Participant--I threw that last reply to you in as a friendly joke. I'm glad you stopped in and caught that! Anyway, I'm gonna have another listen to the low end since several have commented about that. I don't think I compressed the acoustic, but I did use the low cut on the mic and some low cut on the preamp going in. My Martin can get kinda boomy if I don't tame some of that low as its incoming. As far as mix in general, my benchmark these days is the Jackson Browne album "I'm Alive". It won a Grammy for best engineered record when it came out. There is so much clarity and space in it--I'm just amazed. I really like Lucinda Williams "Car Wheels on a Gravel Road" a lot too. If I could learn how to make records like these two, I'd be ready to take on the world!
M.Brane--Hey, snare sound bigots are allowed on my threads and welcomed! Its amazing to me how much the snare affects the whole song. I've lived through five decades of music and each one has about three signature snare sounds, so I am pretty into it myself. On second mix I'll pay special attention to it and see if I can grok what you mean by phasing. Probably too much f'in reverb!
Doug H--thank you for that. Just what I need to hear! You aren't the only one, believe me. I appreciate the help. Its all good!
Guernica--thank you for the in depth stuff there. I won't rehash the low situation (chrisharris is on my butt about it--that sheep!
) I just really appreciate the feedback and consider the criticisms as a compliment because people care and are in the spirit of the BBS--which is what its all about. As for the Segar comparison, you are being very unfair to the man! It used to be Ray Charles, remember?
Interestingly, the two tracks I used the V67 on were the ones where I I got some harshness comments--the guitar and vocal. Maybe thats not the mic for me, ya know? Well, another mix is coming. Will you dial in again and let me know what you think?
Chrisharris--Even if you don't have a Bud Lite, I luv you, MAN!
