i been working hard, taking advice. heres a new song i made please comment on anything you think needs help.

harsh critics are welcome. the truth hurts. but the truth is what you need to get better.

Thank you.


https://soundcloud.com/new-agent/poison-on-her-lips

 

I like it.

I think the bass and kick could have more punch, more low end... and the vocals a lil more prominent within the mix.

 

I'm into synthpop, it sounds very professional and I really like it a lot. I see you like Alchemy, me too. Honestly you keep this up and it sounds like I'm going to be hearing about you in the scene soon. I also checked out some of your other stuff and it's really good too especially Left Here Suffering. The sequencing, male and female vocals are great (please pass that on to the female singer). You've got talent, great fucking job and best of luck to you.

 

thanks! really appreciate it.

@catalyst
Left here suffering, women! hahah i actually did those with my own voice using Harmony EFX.vst and Auto-Tune EFX.vst and some other vst's i 'd have to look. but thank you
Alchemy has really started to grow on me. helped me to stray from rob papen stuff so goooooooood!


thanks again, may u you all prosper on your journeys.

 

Don't be scared of the vocals.

 

Wow, this sounds really pro, great tunes!

 

This isn't really the type of music I generally listen to, so I can't comment on its' originality or timeliness. That said, I thought this was very good. Were you to be shopping this around, I wouldn't think you have anything to feel bad about -- you've done your work here.

If I was going to attempt to improve on it, as mentioned above, I would pump up the low end. I kept wanting to reach for the 'loudness' button to punch it up a bit more. I listened to some of your other songs as well (-- a good sign that i wanted to hear more!) and I was under the impression that the low end needs to be jacked up throughout, so you might consider where you're mixing and what you're listening on -- it may be misrepresenting the low end on your tracks when you're mixing. I also thought the vocals needed to be more up front. This reminded me of a mix that a singer does himself -- he already knows the words so he doesn't notice that it may be too low for others to catch. In listening to the vocals here, I'm mostly hearing a 10 - 12k range. I've always found that when you can hear a well-rounded top, middle and bottom on a vocal, then you probably have it sitting in a good place on the track.

So, there's room for some improvements, but again, this is generally very nice work. I think you have every reason to be proud of it. Good luck!

 

This is a really cool track man. A few suggestions I have for the track to take it to another level, because it's missing that polished sound, it sounds slightly amateurish in my opinion, and it's mostly because of the vocals. The synths are great though. So my suggestions are as follows:

1)Turn the kick up 2-3 dB it's a little buried in the mix, but don't overdue it. It just needs to poke out of the mix a little bit more. So if a 1dB boost works, then just do 1dB.

2)Eq the vocals - they have too much low mid i would say somewhere around 300Hz..sweep around that area and find find the mud and cut it 2-3dB..the vocals in this track I think need to sound a bit thin..they would fit more with the style of the track that way. So think them out a bit. Also, use filter effects on the vocals from time to time. Like at 3:22 when there's like a mini build up..do a high pass sweep on the vocal along with the buildup.

3)Turn the vocals up 2-3 dB

4)Split your vocal up into 3 part. Leave one in the middle as it is now..pan one far left, one far right, or you can pan to taste if you like, and then put different effects on the panned vocal duplicates. A good way to get a wide vocal is to do different things to each of the panned duplicated, like adding reverb to one, delay on the other; low pass one but high pass the other; pitch one side down 1-2 semitones, the other one up 1-2 semitones. Delay one side by a few miliseconds using track and you will get the hass effect and a really wide vocal effect. So play around with it and see what cool things you do with these vocals.

Like I said, it's a funk track but needs some polishing to make it sound completely pro. Hope this helps.

 

Kewl Tune Dude,
I`m learning Mixing/ mastering and have done a version with bass upped and a few other tweaks.
Hope you approve, I`ve attached it here.

I will remove it as soon as you listen to it if you want.
Please let me know what you think.
I still think your vocals could be higher however.

EDIT......Good advise from FUAD by the way more or less what I did.

Best regards
Boomingbassman

 

It could use a few tweaks on the vocals and drums as the other members stated. The reason I am so impressed with this is because honestly it is how a lot of synthpop artists sounded on their demos and you haven't even mastered yet. With more time each artist would develop a more professional sound but your sequences are good enough to not draw attention to the few small issues here and there. You have a good voice for the type of music you're writing and you've created some really convincing female vocals. Honestly I probably raped the play button on some of your tracks and I think I still have Left Here Suffering stuck in my head. I'm sure the fact that I identify with the lyrics doesn't help either.

I look forward to hearing more from you, keep up the good work.

"You try to make me something I will never be...and I'm left here suffering."
I'd actually like to hear an Industrial rework of that track because I think it would be kick-ass. *yes*

 

@New Agent.. I like it.. nice eerie sound. It makes me want to watch some of my favorite films from the 80's. Let me offer you a different perspective because I believe your attention is being steered directly to the kick drum.. which is not a problem itself, or a solution. My suggestion is that you focus on none other than the relativity between All of the instruments in this song.. then you can approach the song in MANY different ways to achieve good relativity in what you will call the (orig mix). Once the original mix is "there" it is a one knob function to render "Distant", "Up Close", "Loud", "Bright", "Fat", etc. versions of that mix as a whole and the relativity will stay the same. So, the way to go about this original mix is to listen to it and determine how you want make the instrument environment more realistic as a whole. For example, if you consider the relative relationship between the kick and the snare alone it voids some of the above feedback you received because treating the kick in that case would call for a gain reduction to match the depth of the snare. Now consider all the instruments in the playing environment, and if the open hat is positioned closer to the front of the stage and possibly separate enough from the kick and snare for the drummers arms to reach it.. then that tests some of the theory what the average listener consciously or subconsciously perceives. So my overall suggestion is to keep instrument relativity/proximity in mind at all times when mixing. And, the simple perspective Volume=front/back.. EQ=up/down.. Pan=left/right. These are still the prominent tools for placement in a mix. Direct advice such as "turn your kick up" may be a one time thing yet it is not resourceful mixing advice down the stretch.

 

wow if this came out in 1984 you would have been a god!

great synth pop tune