Any opinions on this mix please?

UPDATE! Fixed Mix.

 

Last edited: Sep 5, 2017

Harch hats n cymbals.. you need to soften them up.. i dont mind the other things.. but do something about the hats etc then i think your on track..

 

Welcome to the forum, TMROXS!

I haven't used frequency analysis, only my ears, but it seems it's not just the hats. I think there is a general over-accentuation of high-mids. Probably around 3.5 to 4k. There's something with the snare that I can't put in words. I can't hear it clear enough to judge. Other than that, promise kept: It's rockin'

 

It's the use of open sloshy hihats from the beginning to end. Maybe save it for the chorus and changing to ride cymbal once in a while works too.

What did you use for guitar tones? It sounds good.

 

Third vote for overall harshness. Hardly any low end at all to sort of even it out. Performance is great though.

 

I don't have much control over the drums as it was a downloaded wave file. I may program some drums in the future for it.
Did you like the guitar tones? I used plugins for the rhythm guitars, Kuassa Creme for the left and Bias Amp 50 watt marshall for the right with some reverb added.
For the leads I used my les paul with bill and becky lawrence 500xl and r pickups, my old 77 marshall jmp 2187 combo amp with 6550 tubes, main lead used mic'd up celestion creamback H, middle lead break used vintage 30, used zoom g5 with the 1959 amp and overdrive effect, added delay and reverb in the daw. added on all tracks slate vmr and vtm. added a bunch of stuff on master but i think the problem lies with my adjustments on the softube trident eq.

 

Last edited: Sep 1, 2017

Yea, there is a definite over amount of 3-4 k in there, i will have to cut that out and also use some multiband compression on the cymbals.

 

I like it! Just listening on my office PC speakers though, not any real monitoring environment.
Regarding the cymbals/hats:
I'd first try processing the drum track with maybe some eq'ing of the high mids. A dynamic multiband might be the trick so you don't lose a lot of the apparent brightness of the snare, toms, etc. Or you could try a de-esser of some sort on the drum track to reduce some of that upper end harshness. Another possibility is to run through a tape sim of some sort. Slate's VTM didn't really help me with that when I tried it on some harsh guitar tracks I recorded with a mic that had a serious 7k boost (never using that one for guitar tracks again!). Might have done better using a slower tape speed. I ended up using Nebula with a Wollensak Tape emulation. Just a few suggestions of different ways to approach this.
I've had luck looking for midi's of tracks for some covers I've played with like this. Ripping the drum tracks from them. then you can process the drums better depending on which VSTi you use for drums. You'd have to back track and re-record everything most likely as the midi wouldn't be synced up to what you've already got.

 

needs eq work - Highs like mentioned. The guitars sound allready pretty good. You should eq definately the drums again. Less harsh cymbals. Maybe more body of the snare, less ring and less compression. You can hear at the end were you turn down the instruments that the drums are pretty strong compressed ;). If you would try to master this much compression its an overkill.

 

Last edited by a moderator: Sep 1, 2017

I knew there was a reason I liked the guitar.
Those are my favorite and ONLY choice for pickups after trying many. The fact the width of a coin is the recommended starting point for adjusting PU height is amazing. Bill was a genius.

Becky recommended the 500xl and 500L since I wanted to single/series/parallel both pickups. The two set to single coil is my go to clean sound, which is hard to achieve on a dual humbucker guitar.

You can take the current drums and MIDI-fy it? Melodyne, Ableton etc will do the trick.

 

Last edited by a moderator: Sep 1, 2017

I need to try to figure out how to wire this up on my Jackson. It's got 3 humbuckers in it, and I'd like to tap the neck and middle one's for clean/tele-ish tones. It's make it a much more versatile guitar.
Only thing holding me back from this, really, is the mid-boost circuitry.

 

i have not had success with running drum waves in melodyne and getting back out what goes in. any suggestions?

 

@TMROXS, have you done any processing to the original drum wave you used? Or did you leave it dry (uncompressed, un-eq'ed)?

 

yea, i processed it with slate vmr and vtm but I probably should have left it alone as it was probably already processed when it was originally recorded. I can always put the original file back in.

 

agree about the hi hats,cymbals etc but otherwise really like the track.....it ROXS !

 

In my experience on Ableton, you have to go back measure by measure and edit the entire MIDI track or as long as your loop is. The sloshy hihat might be a problem though.

 

If it's a strat style switch this should work:
http://www.stewmac.com/Pickups_and_..._Parts/Switches/Oak_Grigsby_Super_Switch.html
Gibson style you might be in mini switch land.

 

I'd say it probably wouldn't hurt to try. Or remove/bypass any EQ/compression or fatness modules in the mix rack. Just leave the virtual bus in (I would to kind of "glue" it with the other tracks which have VMR buses on them). It likely had been processed. Slate VMR always seemed to do "something" to the high end, imo. Kind of "plastic" feel to it. It's why I turned to Acustica Gold in the end. Plus I prefer that tubey Neve flavor for my material.

That 5 way is pretty awesome. I think I'm going to order a few just to have in my guitar toolbox. This guitar currently has a five way in it. I think I may look at pull pots like this:
https://www.fralinpickups.com/2017/03/29/push-pull-pots-mods/
That way I can tap the front and center as needed. Don't know that I'd like them to be permanently tapped. Depends on if the circuitry inside would allow for mounting a different style pot.
Maybe I need to look for that switch as a 7 way, lol.

 

Cool, your love of Neil shines through. I probably will be shouted down for suggesting this, but why not just re-mix it from scratch. In my mind this song is driven by the drums pounding out a call to join forces, like minded souls creating a space of freedom and a light in this finite space, this world that we live on, a battle against an ever encroaching darkness of foul and fascist ideology. The ground that we hold and would keep is anchored by the tight relationship between the kick, bass and rough and always ready tom-toms. The call to arms of this rendition in lieu of a vocal is your guitar which is up the center. Right now they are competing against the cymbals sonically even though the dishes are panned outside of its space, so bring in those elements as really an afterthought at the very end of the mixing exercise to just fill in the physical space that is there after your panned rhythm guitars. There seems so much 3 to 4k info that is competing for dominantion. Also perchance bring in a tiny bit the wide guitars and temper bandwidth above 5.5k letting the cymbals at the end do that filling in of bandwidth.

 

i cant listen for more than 15 seconds , there is some crazy artifacts going on : ya the high end is very shrill , the hats as mentioned _ i would re do all the drums if possible : !
i think the plugins are killing this too , the slate & what-not ..
less is more , great guitar work tho _ and much potential to be a great track ..