Aside from all these orchestral demos, I\'m hear to present my first live rock piece done with a buddy of mine Abram McCalment. This was my first experience eq\'ing completely live stuff, other than the drums, that were programmed with Drumkit from Hell. The voice mixing was a learning experience for me.
Produced by Jared Hudson
Co-Produced by Abram McCalment
Lyrics by Abram and Jared
Guitars by Abram McCalment
Drums by Jared Hudson
Software and Hardware used:
Sonar 3 Producer
Studio Projects C1 mic
M-Audio Firewire 410
I would do a couple of things mix wise. Definitely do some frequency \"slotting\" and pick some bandwidth for the various elements. Right now, it\'s a bit tonally messy, because everything\'s full-range, full-dynamic. The soundstage gets crowded, in other words.
I\'d lose the \"all right\" commentary at the end of the vocal. It doesn\'t contribute anything.
The drums need tightening up, timewise. There are some places where the time gets really iffy. I think the guitars could use some tightening in a few places, too. You don\'t want to sterilize the time, but you don\'t want to leave in anything that is just way out. The drums also seem a little wet for the kind of tune it is.
Likewise the bass is kind of noodling around in time rather than laying down a hard groove. Now that I\'m looking at what I\'m typing, the major non-mix issue I\'m hearing is that the groove just isn\'t there. The parts are not bad, but the time is really all over the place, and the groove rarely settles in.
You might want to consider really clamping down on the vocal. Right now, it\'s very \"country rock,\" full-range, not very compressed. If you wanted to put a rougher edge on the tune, I\'d suggest putting a highpass filter on there, and really compressing it.
The only other comment I\'d have is to really examine what\'s going on in the guitars. If something isn\'t contributing to the overall feel, better to lose it than have it noodling around in the tune.
That\'s a lot of stuff, but it\'s all very do-able. Definitely in the world of pop/rock production, you don\'t want to just mix everything at what I\'d call its full bandwidth. You\'ve got to get the bass, drums, and vocal totally happening...and everything else gets tonally tucked in around those elements.
I would grab some Sheryl Crow CDs (the black and white eponymous album is particularly applicable) and do some a/b listening. She does a lot of material that is in essentially the same groove category, and even though the vocal will obviously have to be treated differently, I think you could pick up a lot of mix tricks listening to the way her stuff is mixed. It all comes out sounding huge, but if you start focusing in on each individual part, you\'ll hear how much manipulation is going on to give you that \"wall of sound\" that the drums, bass, and vocals still punch through.
Don\'t be discouraged, whatever you do. You\'ll get the hang of it in no time. The greatest thing about software mixing is that you can create 15 different mixes in separate files, and go totally nuts until you find what\'s really going to work for you.
The drums are far too complex for what this song seems to be trying to be. That\'s why the groove is not established. Simplify the drum and bass parts.
The singing is nice. It just needs a more solid bed to lie on. Tonally, things seem to be decent for a first attmept. But as Bruce points out, talking mix at this stage is kind of like the cart before the horse. Tighten up the groove first.
I forgot to say something. The biggest mistake I pulled on this song was using a drum track that was used for another project. The original project was more for a grunge, hip hop track sounding live at a rock concert. I sent the drum track to my friend when he wasn\'t in town, and he just jammed to it, but he adapted to it also. I personally wanted to redo it, but he was used to the feel now. I thought the fills were excessive myself. I agree about the drums, but for my own personal feelings, I\'m happy with our first production. It can only go uphill from here.