Let's hear your latest stuff....right here

[Southsidemusic]

sounds like a good demo but can't get a hold on what it is. Sorry

And as you said it is a bit old style of sounds and all around playing style.

I only say something when people are asking so thats my thoughts. I would work on spreading out the sounds more and since you said its old maybe you should start a new song instead of trying to "fix" this one but these things are subjective so someone else might say it is a great effort

[jamesleonard]

Firstly, thanks for the listening or critical analysis - one-of-the-two

Having listened to it being streamed on soundcloud in 256kbps - does not do it justice (especially when I am use to the 16 bit, 44.1kHz (wav) version!)

This is a 'dance track' and I am a DJ - so that is why there is heavy emphasis on the driving rhythm - hence the name 'Rhythm Track'

These problems can easily be rectified methodically (in this order) - namely:

1. Noise reduction
2. Mid side EQ/Harmonic balancing
3. Mastering reverb (although this is rarely used - but now and then it can be applied)
4. Dynamics
5. Harmonic Excitement
6. Stereo imaging
7. Maximising to increase loudness

The methods (above) are usually what I adhere too when making adjustments and... what I have wrote (below) mainly concerns: 2. Mid side EQ/Harmonic balancing.

However, because I am a DJ - when I make music (FOR THE CLUBS) it is sensible to create sounds in mono rather than stereo. Most plug-ins and hardware instruments will exaggerate the stereo spread to make individual timbres appear more impressive - but these timbres/sounds will accumulate across the stereo field and reduce the available soundstage. Therefore, I will always program sounds in mono - and this is IMPORTANT - since many clubs systems are mono!

Additionally, it is important that it sounds good in mono - and I will tell you why. If the mix has not been checked for mono compatability - it will/could sound drastically different - especially in a club, where the sound system is mono. You could lose some sounds altogether - WHEN THEY ARE SUMMED TOGETHER - think of 2 sine waves 180 degrees out of phase - they cancel each other out - result: NO SOUND!

Anyway... I could employ a mid/side processor and then mono any frequencies that are below a set threshold. Thus, if I had a wide stereo bass line, it would be possible to set the threshold to, say, 75 Hz - so that any frequencies below become mono, whilst any frequencies above remain in stereo.

The best thing for this track would be to use a mid/side processor to increase ambience - and create a mix that would be suitable for both CLUBS and STEREO SYSTEMS simultaneously! This would be achieved by placing a M/S processor after a stereo reverb unit. Since the reverberations are in stereo, the M/S processor can be used to reduce almost all of the reverb from the centre channel (typically with EQ or compression) - but leave it present in the left and right field. Since many club systems are mono, when played through a club system, there is only a small amount of reverb present - however, when played through a hi-fi or iPod system, the left and right field exhibits a larger reverb. Ideally, an EQ should follow the M/S which would allow me to further sculpt the results. (i.e.: sounds HUGE on club systems, but, sounds refined on small systems such as: car stereos and iPod systems)

Similarly, reverb could be applied to an instrument and the frequency threshold adjusted so that the reverb becomes mono below a specific frequency and remains in stereo above. This would provide a clearer sounding mix. Additionally, on a complete mix, it is possible to boost the sum information (the left and right field) whilst leaving the centre unaffected. This has the effect of increasing the stereo ambience of the music.

Another possibility is to employ a mid/side dynamics processor to home in on specific frequencies and compress the mono and stereo signals differently - so when applied to the entire mix, both the kick and bass would be compressed and consequently increased in volume compared to the side information - resulting in a much larger presence of the groove.

There are other things I can do with: MID/SIDE EQ/HARMONIC BALANCING namely: the Bass, Mid-Range, High Range and Boosts and Cuts - but... I'm not going into it here.

I'm heading off to my infrasonic monitors now...

But remember this: to make your song sound HUGE on a club system and sound refined on a small system such as a car stereo or iPod system - you will need to introduce/induce these methods.

James

[amagras]

Why would you use a sample rate below the standard CD quality??

[jamesleonard]

I meant 16 bit, 44.1 kHz - sorry for that typo

I have corrected it now - weird

James

[stickleback]

Heavily progressive fusion instrumental track.

https://soundcloud.com/damoj-784957955/point-of-contact

[jamesleonard]

Love the soloing man (reminds me of Dean Parks and Adam Rogers) the shreds on these tunes are unbelievable! - just amazing!

James

[stickleback]

I presume you're talking about my tune. Thanks! It's pretty over the top, but I think we pulled it off.

[persuader]

Heres a new song from our upcoming album. Were a band from Sweden, Cabin76. All homebrewed

https://soundcloud.com/cabin-76/fish

[wodey]

Sounds good on Soundcloud !!

[DementedLegacy]

Hp Envy
i5
Windows 8.1

Protools 12.4
Stock Plugins
Baby Bluebird Condenser Microphone
Audient id22
Soundproof closet


This my first mixed song. Its me on the verses. The chorus came with the instrumental pre mixed.

Is there anything you can hear that i can improve in the mix

https://soundcloud.com/user-585972019/only-human