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Oswlek

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Oswlek last won the day on December 13 2016

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About Oswlek

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  1. Surviving in Memory

    +1 The pieces here are terrific, but they don't feel like they are being optimized yet. FWIW, I don't hear that much Floyd in here. Some, but it's not the first thing that jumps out. The guitar work sounds more to me like something Stephen Stills would compose.... which is a compliment, I assure you. Same with the drums, they have more a CSN folk feel. If that isn't the target, then keep it is food for thought. If it were me, I'd just redraw the bulls eye over Stills because it sounds great in that style.
  2. Unbury Yourself - mix feedback

    Thanks guys. I'm going to pivot off of a few comments to provide a general overview. This is the primary issue I am trying to resolve. Trust me, it was much worse in its original form. The problem is that, due to me earlier screw ups and how they've boxed me in, I'm really limited in what I can do in a reasonable amount of time. Rather than just punching in and sliding the pan, to fix the earlier left slant I had to export the left channel, reimport the file as mono and pan all the way to the right, and then blend since the problem gradually got worse as the song went on. To then combat the now empty sharp left channel, I imported some individual tracks to fill out that space (among other things). As ridiculous as this sounds, it is significantly less work than it would have done to root the problem out at the source. I'm unconvinced that I can do much better than this, unfortunately. Oh, and this is another one: Once again, the original mix was much, much worse. No clarity at all, just pounding. To address this, I fired up a multi-band comp, bypassed all but this range and made sure nothing triggered it until the bass/kick came in. It is way better than before, but I'll see if I can touch it up some more. I can't do it in the way you've described, but I can set the compressor to be a littler stronger and import bass/kick files to supplement. Hopefully this makes it clearer what I'm dealing with. @MonoStone - Thanks again, Dek. I tried a few things (importing a raw "DF" file and turning up the current one) and didn't like either. I think I'm going to have to live with this one. @ImKeN - You are much too kind, Ken. If you hear what I hear, it is finger sliding on a string, which is one of the things that is permanent, unfortunately. As is the even more annoying chair sounds right before the vocals come in. @snabbu - Much appreciated. Is the note the final one ("from")? The melody there extends longer than other lines which causes it to land on a different note, so that might be part of the problem. I'm pretty sure I reviewed the pitch to make sure I sang the right note and was within an acceptable intonation range, but it's possible I made a mistake. @HoboSage - Thanks for you candor Dave. Hopefully you better understand where I'm coming from. If there is anything that could be fixed purely be importing a file, please let me know. @Jenn - Thanks, Jenn. I'll give the mix one more once over. The vocals were far off to the left earlier and I thought I had centered them. But it may just be my ears being so blown away at the difference. Dave, is it the vocals that sit wrong for you as well? @symphonious7 - Wow, thanks! I love this song too, so it's nice to hear it works for someone else. @M57 - Thanks, Mark. See above for a detailed response to your suggestion.
  3. Unbury Yourself - mix feedback

    Thanks guys. @Just1L - Much appreciated. The Beatles are an enormous influence on me, but I'm curious where you see that in this tune. I'll definitely look into clarifying the "dig free" parts. @MonoStone Essentially, I have a prior "final" mix that I can only modify via EQ and compression, plus the ability to import some of the tracks used to create that final. So, I could "turn up" the synth by importing that track into the new project, but I can't change the gain/FX/eq of the track within the prior mix. Regarding the "dig free" bits, I've imported clean and distorted electric guitar tracks in the new project, so that is probably what buries the bvox a bit. I'll see if an import of those vox (with a notch at 2,000 to make sure it stays sufficiently in the background) can make them a bit more present. Let me know if you figure out what the other issue is. Thanks.
  4. Cell Phone Junkies!

    This is terrific. Unique and you. I can imagine it setting an ironically positive backdrop to a graphic scene in a Quentin Tarantino movie.
  5. Looking For Inspiration

    Remarkably, this is almost exactly what I came up with as well. Driving with the windows rolled down after a long - but satisfying - day.
  6. It can't be true

    Cool stuff. I was a big "Live" fan back in the day, so it is hard not to hear "Turn My Head" when I listen to the verse guitar. I like the dirty guitar and how it darkens the overall mood of the piece (though it is probably too loud in spots). The only thing I'm a big fan of is the doubled vox. IMO, the song would be much improved by using just one vocal and perhaps bringing a second for some occasional thickness and distinction.
  7. Lovely. The only thing that bugs me even trivially is the disparity in snare volume. I like the idea of having one more prominent than the next and the overarching cycle it creates, but the louder one is too loud, IMO. Otherwise, I'm on board.
  8. The End Of The Skyline

    LOL! It's possible, but I don't think so because there are things about this performance that don't feel as tight as you stuff usually is. If you leave all that and go change what I do like about it, though.....
  9. Hello all, sorry I've been so absent. I'm still dealing with the same personal issue that my prior post was about, with regrettably no end in sight. Anyway, UY has long been one of my favorite originals - perhaps even the favorite - but I couldn't bear listening to it because of several mixing mistakes. Most notable is the bizarre decision to have the lead vocal gradually slide more to the left as the song went on. No idea what the hell I was thinking. I also mixed this back before I understood buffer settings, so to keep my computer from freezing I kept bouncing things down to layer on top of. This means that fixing things perfectly would require unwinding and rewinding an unwieldy thread. It's just too much work to fix everything, unfortunately. I won't bore anyone with the details of all the workarounds I did to "remix" a master (though I'd be happy to elaborate if asked), but I'm hoping to get a couple ears on this to see if something that can be fixed still needs fixing. Thanks! How long You've been taking the blame Replaying the sequence Reliving the shame One slip of the wheel Left you shattered and stunned Your distant voice wailing "What have I done?" (Dig free, dig free)... You buried yourself (Dig free, dig free)... When they buried me (Dig free, dig free)... Unbury yourself (Dig free, dig free)... It's time to dig free We were just kids Reckless and dumb Nobody's angry any more There's nothing to hide from So how long Must this debt be paid One life is gone One can be saved (Dig free, dig free)... You buried yourself (Dig free, dig free)... When they buried me (Dig free, dig free)... Unbury yourself (Dig free, dig free)... It's time to dig free
  10. Charon (new vocal and new mix) - 07/08/2017

    It's trivially present throughout in ways that are largely personal preference. Certain words stressed, syllables elongated, that sort of thing. However, there are times like, "He'll not take you on" that sound too clumsy to leave as is, IMO. If you hear what isn't working about that phrase, you'll likely be attuned to what else feels off. Keep or sweep, of course.
  11. Charon (new vocal and new mix) - 07/08/2017

    Very cool. Other than the minor timing issues with the vocal, I'd say it is a done deal. If you have audio stretch capabilities on your DAW, you might be able to get away with fixing the few offending spots, because the vocal is quite good most of the time. Well done.
  12. Something To Hold On To - updated vocals

    I like it, Jenn. Catchy chorus and the change to the verse is cool As is, the transition between the chorus and verse sounds like you really have to rush to sneak a breath in and that lack of comfort shows through. Having the two takes on separate tracks would help that, IMO. Two other things that may just be my personal preference: Using "give me" in this line usurps some of the power from the chorus for me. A simple fix would be changing it to "I need a sign". I LOVED this bit, but it dragged for me the longer it went on into the chorus-ish part. If this were my song, I'd drop virtually the entire second stanza and make it like this: Then the world stops and everything in it drops away Fades away till it's just us in our way I want to give you the world, what's left and what has stayed But it stays in my head with words I can't say Give me a little something..... (Pause and then kick in to the final chorus). Or, said differently, jump straight from 1:29 to 1:46 with a brief musical pause in between. Keep or sweep.
  13. The End Of The Skyline

    Forgive me, but... I liked this more when it was just you and the piano. {ducks}
  14. Table for Two (Acoustic version)

    Outstanding, Cap. I like the rawness of the mix, the lack of polish (which probably drives you nuts, it would if it were mine) suits the song well. IMO. The only incredibly minor nit is the last line of the first stanza. "One with" doesn't isn't evocative for me. I think a more expressive verb is called for there, perhaps even as simple as "kissing mine". Nice job.
  15. Mr. Fox FULL DEMO

    Very impressive, Jenn. You've clearly done a great deal of work on this one and you're eons beyond where I was at similar points in our songwriting/production journey. My biggest nit is that the chorus could use some melodic treatment. Not only is it somewhat bland, but it features the same notes that get the spotlight in the verse. A simple fix would be to bring the high harmony in sooner and make it more prominent, then progressively bring in more stuff as the song goes on. In my head I hear backing vox doing a repeat "ba ba ba" similar to a staccato horn and a lone voice off in the distance singing a counter melody. Good stuff.
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