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Please critique my mixing.

#2
First of all, good job of leaving every instrument (and I include voice as an instrument) with their own identity. I'm a big fan of being able to hear each instrument on their own as they are mixed into a whole. If you did use compression, you used it judiciously.

My take is that while the bass is quite audible, it could use a bit more presence; a fair bit more of low mid and a generous touch more of low end. And while I'm not generally a fan of booming bass drum, the same for the kick drum. It's almost as if the drums are nearly all snare and high-hat (and I'm listening to this on a pair of ~15 year old Sony MDR-V600 headphones that are quite nice, albeit beat up a bit).

Finally, this recording is nice because everything is up front, but also a bit strange sounding for the very same reason. It's hard to put a finger on just what it is. You could go with it as is, but I think the tweaks I've offered would help to bring it home. Granted, you probably avoided boosting the bass too much to avoid the obvious criticism of a bass player mixing his levels too high - no need to raise the meters; just shape the tone toward the low end a bit.
 
#3
Bass level is fine but needs more lows. A high pass on the guitar would do some good but if that's too aggressive an approach for you, go parametric and cut the lows/low mids while sweetening the high mids and highs. It'll cut better that way too, so you can let it sit in the mix rather than on top of it. Along the lines of the guitar, the drum tracks (don't know how you recorded them so there might not be anything more you can do) are in need of frequency slotting and I couldn't hear the keys any more than one would bass on a Metallica album. Too much master compression for my taste. Put a comp on the individual tracks as needed and then some peak limiting on the master and the mix will breath more and let that nice groove you've got hang out.

You asked...
 
#4
Thanks for your opinions. I think I was trying roll of the lower frequencies of the bass to let the bass drum sort of "have it's own space." I rode the faders through the entire track for the guitar, bass, and vocals. I had never done any of this before. Your input is appreciated.
So the consensus so far is more lows and low mids on the bass, less lows on the guitar, bring up the keys, and give the bass drum some balls, and possibly back off some of the compression?
 
#6
It's when you eq tracks to make the most of a certain frequency range so that they take up less space. A drastic example would be a funk band with horns. Bass would be all lows, rhythm guitar might be mostly 300-600 with the lead guitar mostly 800-1200 and the horns filtered with no lows (picked those frequencies at semi-random, btw). Then we get to find a place for drums, vox, and keys :D. Drums are the hardest as the each drum has its own unpredictable character and cymbals have an off-the-charts bandwidth and can be finicky to eq. Experiment! If you're not sure where to start, there are some charts online with tips and general advice about different frequency ranges and how they apply to various instruments but it may take some google fu to find them. Or you just were using a different nomenclature and I wrote the great american novel for nothing.
 
#7
colcifer said:
It's when you eq tracks to make the most of a certain frequency range so that they take up less space. A drastic example would be a funk band with horns. Bass would be all lows, rhythm guitar might be mostly 300-600 with the lead guitar mostly 800-1200 and the horns filtered with no lows (picked those frequencies at semi-random, btw). Then we get to find a place for drums, vox, and keys :D. Drums are the hardest as the each drum has its own unpredictable character and cymbals have an off-the-charts bandwidth and can be finicky to eq. Experiment! If you're not sure where to start, there are some charts online with tips and general advice about different frequency ranges and how they apply to various instruments but it may take some google fu to find them. Or you just were using a different nomenclature and I wrote the great american novel for nothing.
Click to expand...
I guess I could also just take a parametric and sweep until i find the sweet spot. I don't know if that makes sense. TIghten the Q and start at 20hz and move upwards till we are there and then widen the Q?
 
#8
i think it sounds great. few people have a flat reproduction system, so you will get different opinions depending on how the stereo sounds. the only thing i would change is maybe roll off some 100hz off the kick drum, it sounds a bit too warm there, its competing with the bass guitar range. get rid of some 100hz and it will be below the bass guitar. nice mix !
 
#10
staindbass said:
i think it sounds great. few people have a flat reproduction system, so you will get different opinions depending on how the stereo sounds. the only thing i would change is maybe roll off some 100hz off the kick drum, it sounds a bit too warm there, its competing with the bass guitar range. get rid of some 100hz and it will be below the bass guitar. nice mix !
Click to expand...

Thanks Mr. Staind! I will try and re-eq the bass drum. I also want to try the frequency slotting the Colcifer mentioned. Through my headphones the mix sounded good. I mixed this track on some big Barefoot monitors. I then listened to them through some Yamaha monitors and it sounded good as well. Thanks for the input!
226921_10150179332151851_547936850_7414753_8022374_n.jpg
 
#11
Maybe just me, but the lead is a bit too out front for me most noticeably at the beginning (as I probably get used to it) versus sitting in the mix which keeps me from turning it up. Letting it rock is when I get more out of the vocals and everything else but as is a little brittle for me. Also guitar solo died at 3:50 versus a nice although quickly needed decay.

A little more pop from the snare would drive it better for me as well, but I'm just a bassist with opinions so take it for 2 cents worth, maybe only 1 cent.

I like it.
 
#12
6jase5 said:
Maybe just me, but the lead is a bit too out front for me most noticeably at the beginning (as I probably get used to it) versus sitting in the mix which keeps me from turning it up. Letting it rock is when I get more out of the vocals and everything else but as is a little brittle for me. Also guitar solo died at 3:50 versus a nice although quickly needed decay.

A little more pop from the snare would drive it better for me as well, but I'm just a bassist with opinions so take it for 2 cents worth, maybe only 1 cent.

I like it.
Click to expand...

Yeah, the more I hear it, I also kinda feel like the guitar is a little too healthy. I did ride the fader on it throughout its entirety. I may have to re visit that as well. I think for my first mix ever, it is alright... Thanks for your insight.
 
#13
One last thing- mastering is a whole different process but equally important. Two quick tips: if an instrument doesn't come alive in a raw mix, you can try boosting the frequencies you boosted when eqing that track while mastering but you have to be careful because if you boost too many frequency ranges or too much... and second, go easy on the compression. Unless you're going for top 40, peak limiting or light compression will do.

The internet is your friend but beware of clueless people (who knows-I might be one of them...).
 

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