The Shortest Pier

[NotThatBright]

I just belted out the vocals for this... I needed to decompress after spending 4 hours yelling at Notre Dame's shitty QB through the TV and drinking pints. If you could give a quick listen and comment on the mix, I'd appreciate it. My first mix was really overhead-heavy, I shitcanned that one right away and made this one. Hopefully I turned it down enough.

I did the NOFX version of the song (as best I could)... I don't know the original, a quick google search says it's by a guy named Tony Sly. Nice little song.

Thanks.


https://soundcloud.com/user92696274096/the-shortest-pier/s-PCk6g

UPDATE- 2nd mix:

https://soundcloud.com/user92696274096/the-shortest-pier-2nd-mix/s-sJwb3

 

[Pinky]

The vocals are dry, maybe a little room reverb would help.

The drums are too center and feel like they fall out of time occasionally (not terribly). I'd also like more umph from the kick than what's there. I think once the kit fills more of the stereo field the cymbals will have more presence as well, as it is now they're a bit buried.

The lead guitar in also too center, would try some slight stereo spread or chorus on that so it doesn't jump into the mix as harshly.

 

[Bubba po]

I'm familiar with the sound of the stuff you're covering there, and I think you're pretty much hitting it. Your mixes are far better now than a few weeks ago, and your drum playing's improved a lot! I didn't hear much wandering of timing, at least not enough to grieve over given the type of song. What I do hear is quite a lot of harsh crispiness in the overall mix, especially in the cymbals. I enjoyed it.

 

[NotThatBright]

The vocals are dry, maybe a little room reverb would help.

The drums are too center and feel like they fall out of time occasionally (not terribly). I'd also like more umph from the kick than what's there. I think once the kit fills more of the stereo field the cymbals will have more presence as well, as it is now they're a bit buried.

The lead guitar in also too center, would try some slight stereo spread or chorus on that so it doesn't jump into the mix as harshly.

Thanks for the comment, Pinky. I turned up the kick a bit. I was trying to hide some shoddy kick drum work. I get short windows when I can drum and though I'm not very good to begin with, I sometimes have to settle for drums that even I think should be shitcanned I can live with this one, though.

As far as the lead guitar- I have it panned about 1/3 of the way to the right (closer to the center than the right). I have the rhythm guitars panned nearly hard left and nearly hard right, so I wanted some separation between the lead and the rhythms. Where do you recommend the lead be panned? I assumed I should try to keep it away from the rhythm guitar, but maybe it doesn't matter.

I get headaches if I bring out the cymbals too much. I actually thought they were a little excessive on the first mix

Regarding panning of the drums- I only have one overhead mic. The drum mics- snare and kick in the middle, a tom about 40% left (closer to center), a tom almost center, 16" floor tom about 38% right, and an 18" floor tom at about 25% left.

Vocal- I use a Tascam DP-24 and there's not really anything I can do to the vocal with this thing that I've found I like. I have some compression on it and some reverb, neither of which does much. I agree that it sounds too dry.

Thanks again for the comment. New mix is at the top. So far I only turned up the kick.

 

[NotThatBright]

I'm familiar with the sound of the stuff you're covering there, and I think you're pretty much hitting it. Your mixes are far better now than a few weeks ago, and your drum playing's improved a lot! I didn't hear much wandering of timing, at least not enough to grieve over given the type of song. What I do hear is quite a lot of harsh crispiness in the overall mix, especially in the cymbals. I enjoyed it.

Thanks, Bubba. One of these days I'm going to produce a perfect drum track. That day nears, but it ain't here yet I agree the cymbals were still a little strong, I turned them down.

 

[jimistone]

I thought it was a very good mix. Also, the energy is there. The only nit to pick for me is the "chunka chunka" palm muted guitar parts seemed like they need a little tightening up with the bass and drums.
Really good recording and enjoyable listen.

 

[NotThatBright]

I thought it was a very good mix. Also, the energy is there. The only nit to pick for me is the "chunka chunka" palm muted guitar parts seemed like they need a little tightening up with the bass and drums.
Really good recording and enjoyable listen.

Thanks, jimi. You know, I always thought I was strong until I tried playing songs with fast and constant hits on hihats or the ride cymbal. Those "chunka chunka" notes when playing guitar also wear out my wrist in about 15 seconds. I'm sure my technique is lacking, but I seem to have zero speed and endurance with palm mutes like that. I need to start squeezing a racquetball all day or something, like Stallone in that arm wrestling movie.

 

[dobro]

Maybe just a taste more of the low mids you axed out? The mix has clarity and separation, but it could use a bit more body. (That's the second time I've said that to somebody this morning - I wonder if I need a coffee?)

 

[Bubba po]

The only nit to pick for me is the "chunka chunka" palm muted guitar parts seemed like they need a little tightening up with the bass and drums.
.

Agreed, Jimi. I meant to mention that, too.

 

[NotThatBright]

Maybe just a taste more of the low mids you axed out? The mix has clarity and separation, but it could use a bit more body. (That's the second time I've said that to somebody this morning - I wonder if I need a coffee?)

It was only in the last month or two that I learned about the evils of low mids... I always knew to cut 250Hz out of the bass drum, but until recently I never knew to cut 450Hz out of the toms. The difference realized from cutting those "boxy" frequencies from the toms was enormous.

Which leads to my question... How much should I cut? What I've been doing with the EQ for each tom is -5 at 450Hz. Is that too much?

 

[dobro]

Listen to what it sounds like. To me, it sounds like you've cut a bit too much. Play with it, or wait for more opinions about it.

 

[NotThatBright]

Goddammit, I hate having to assume responsibility. Fine, I'll listen to it. Thanks.

 

[Bubba po]

I think the thing about low mids is that it's a place where the mix gets cluttered. Reducing the low mids in the instruments that don't need them, such as deep toms and kick drums, leaves room in the frequency spectrum for those that do, such as guitars, resulting in a more spacious and richer-sounding final effect.

 

[dobro]

Yeah, he knows that. But do you think he might have slightly overdone the reduction of low mids in this mix?

 

[Bubba po]

Yeah, he knows that. But do you think he might have slightly overdone the reduction of low mids in this mix?

Goddammit, I hate having to assume responsibility. Fine, I'll listen to it again.

 

[NotThatBright]

Now that's one shrewd motherfucker!

 

[Bubba po]

I've listened to it again (on headphones, given that it's after 11 P.M. here ) and I'd say the second mix has addressed that pretty well. There's still a harsh crispiness in the treble that I really don't like; the main frequencies of the hi-hats and crashes sound like a breaking bottle or a snapping twig. I don't know if that's to do with the sound in the recording space, the microphones that are being used, or the mixing. That said, I really like NotThatBright's style, his songs and his sense of humour. I'm also not against the use of harsh crispiness in cymbals for a particular effect. Check out the intro of "Airbag" by Radiohead for an example of what I mean.

 

[NotThatBright]

I've listened to it again (on headphones, given that it's after 11 P.M. here ) and I'd say the second mix has addressed that pretty well. There's still a harsh crispiness in the treble that I really don't like; the main frequencies of the hi-hats and crashes sound like a breaking bottle or a snapping twig. I don't know if that's to do with the sound in the recording space, the microphones that are being used, or the mixing. That said, I really like NotThatBright's style, his songs and his sense of humour. I'm also not against the use of harsh crispiness in cymbals for a particular effect. Check out the intro of "Airbag" by Radiohead for an example of what I mean.

You're gonna make me blush. I am so flattered by your statement that I'm not going to give you shit for misspelling "humor"

I've also always enjoyed your stuff, particularly the early '80s British punk stuff. A lot of it sounds like Cock Sparrer, which I know you don't like because they voted for the Tories or something!

Regarding the crispness, I'm not out to deafen anyone, I am probably just making an EQ mistake with my overhead. I do jack up the treble quite a bit on it, with the hopes that the cymbals are heard more than anything else out of it. I'll try turning that down a notch. Thanks.

 

[Schwarzenyaeger]

Your voice is cool, your timing is rather wonky, etc.

Aren't we always saying the same things about your mixes?

 

[dobro]

Aren't we always saying the same things about your mixes?

Aren't we often saying the same things about *everyone's* mixes?