What's your guys opinion? 🤓 FYI this is the only video for this week as I've been dealt with another bad illness so I've been bedbound since last Wednesday. Today and yesterday was me starting to eat again and I'm up and about today but I've not had any time to focus on a video.
I liked the space in the mix Paul. I see why Warren said about the low end. You could trigger a gated 60Hz signal generator which would add a tight but fat low end, which I suppose is not dissimilar to Warren's dbx sub harmonic
You're a true Gentleman my friend! Your mix was incredibly creative, your instincts are superb and I have no doubt you will continue to grow into an even more amazing mixer. You Rock Paul!
Thanks again for the kind words warren 🤓 the calibre of the other mixers within your community's is proof enough to me that what you are building is worth your time and investment as its acting as a great platform for learning and development.
at first i thought the guitar tone could have been heavier, but when the vocals are with it, it sits perfectly. I agree with the kick comment, needs more thump, but that's also your choice/taste. Really great job Paul!
If I recall I think I did hipass the kick to like 50-60 and bass to 30 so I could have swapped them about. Tbh it's been a good lesson as I've always thought about lows in a kick being a lot higher say 100hz-ish so it's something I need to experiment with in extending the low lows of the kick and removing more sub in the bass to carve that space to give the kick that low thump. Its great to learn from your own stuff
@@PaulThird best way to learn! i often do a pultec on the kick at 60hz. it depends on the kick though. i find 50-100hz is the sweet spot on kicks, but some go lower. So 40-100 is where the sweet spot is bound to be. i try to mix stuff where i work with the artist so i know how it was recorded to better gauge choices in this stuff. listening is the best way always. part of my issue is my small room with bad acoustics, if you are working in a similar situation or have small speakers (below 6") it can be tough to get the super low end right. I too often struggle getting the low end just right. either i over do it and the mix is cloudy or how i've been doing lately is a weaker low end. Often i will choose bass or kick and just hi-pass everything below 60/80 on that one so the other cuts through the low end nicely. sadly these are anything but rules and you still got a killer mix in the end. Besides at the end of the day most people will be listening on ear buds and phone speakers 😂.
@@PaulThird yeah headphones are great especially when combined with the dearVR monitor or waves nx stuff. I will say that I still think it is best to use more as references than the main spot to mix, but i plan on doing a few mixes of all tracks exclusively on headphones. Gotta learn better video editing to post all these content ideas to youtube 😂.
I didn't mind the snare. I actually liked how forward it was, but my gut reaction was also that the guitars needed a tiny bit more beef, but I always make mine THICC! I think it sounded great to be honest. Why you aren't mixing for clients is beyond me.
Tbh its always been a confidence thing with me. I'm extra hard on myself and never felt I was ready for clients. That and the fact that I genuinely have no idea how to get clients in the UK. Especially Scotland. We genuinely have such a small music scene. If I was doing this during the noughties indie boom Id be making a f**king fortune 🤣
@@PaulThird If I can find work in a small city in Canada, I'm sure you can find work too. Online marketing is your friend and you already have an online presence with your RUclips channel. All the best.
Thought it sounded great. Agreed that there could be more sub on the kick, and that the guitars could be a tiny bit more forward. I liked the loud snare. I think the guitars worked, and it's more of a taste thing.
Excellent, thanks for sharing Warren's thoughts on your mix. Great mix to my old ears in general, the only thing I'd say is I'd like a bit more grit on the guitars, it was all very clean and as an ageing punk I like things a bit dirty. Obviously this is a taste thing and not to say there's anything wrong with the way you handled it. Fascinating!
Not sure if anyone has mentioned it, but just after 5:50 there is a very audible audible click and hum in the right guitar channel. Needs removing. Surprised Warren didn't pick up on it. Maybe he did and didn't want to get too specific. Hopefully you find this observation constructive, it can be easy to miss these things, but it immediately jumped out when I was listening.
@@100states6 Not really. If the goal is to be a pro mixer (that people pay money for) it's a basic requirement to discern such obvious oversight from creative choice. This is why I get paid to mix and master music and you don't.
I can't remember why I didn't take it out. There was a reason. Either it was detrimental to the part that was playing in regards to treatment or something else. Dunno if Warren took it out the final version he mixed. Is what it is but I know which part you mean. BTW 100 states is actually a very well known engineer from Germany. Worked with take that and stuff.
Hey Paul, Great mix! Thank you for posting this, it is great advertisement for the community. I have been doing the same goal as you for the past year and am working on mix 81. It is all about practice for any craft or art to become proficient. That is what I think is really special about Produce Like a Pro. Where else can you get 100+ songs with multi-tracks to mix which you can use publicly for your portfolio. I hope you got a chance to listen to my mix (right before yours) from last Friday. Cheers!
I listened to it all live even though I was dying and pretty out of it haha 🤓 I recall yours got a very good reception as you really put your own stamp on it. I think it was only the level of vocal saturation that was the only comment.
Funny, I knew Warren would want something with the Kick, but I didn't think he'd ask for more low-lows on it (I thought he'd go the other way and ask for a bit more "click" (which I don't like on kicks)). And I thought this BECAUSE of the bass. Now Warren suggests to highpass it (the bass) a bit more - that's an approach too! Told you the vocals are perfect. He's probably right about the guitars, but that I didn't hear. Now that he said it it makes sense to try it and see if you like it. When it comes to the snare.. I like it like that. Having it poke out let's the vocals sit back a little bit and creates depth. But I just like snappy, poky snares - maybe that's a me-thing! I really liked this review of your mix by Warren. It all makes a lot of sense.
@@Producelikeapro Thanks, that means a lot Warren! I'm a slow learner, especially when it comes to mixing. My ears get "lost" in the mix - causing bad judgements - all the time. I don't have this issue while producing. That's why I try to be very rational and conscious in my approach to learn mixing, in order to fight my lack of talent with thought and knowledge. Hopefully it will let me become a capable mixer over the years - sometimes slow and steady gets to the goal and I really don't care about winning the race.
Wow thanks for talking about Spike Stent ! I didn't knew him, I went and listened to "Hella good" and other musics and I feel like he is using a lot of harmonic distortion, there is a lot of brightness, a little bit like a Greg wells mix, it's awesome 💖
Paul, love the mix. It’s got great vibe and creativity. I agree with Warren on the snare, it was one of the first things that I noticed. Reminded me of the Mike-E snare sound from your video about that. A mastering engineer would be able to do a lot with this. Your mix is very current, but in a good way. I’ll read the rest of the comments to see if you gave any insight into what you did. It’s definitely a lot different from what I try to do, but I give you a lot of credit for doing a great job.
It wasn't good enough in the end to make it on my portfolio but was a half decent attempt. Too much LCR on this which I purposely went with but wasn't the best decision in hindsight. You live and learn
@@PaulThird Paul, here’s the thing. Your mix allows the listener to connect with the song. That can be tough to accomplish with a DAW alone. I find that I only minimally connect with a lot of modern stuff. There’s a big difference between say Metallica Hardwired and say Ride The Lightning or even Reload. The 2004 Megadeth remixes also don’t connect anywhere as well as the originals. I’m pretty sure Spike Stent mixed the Foxes record with Body Talk. That record really harkens back to the classics while also having a lot of new creativity to it. Highly recommended. Do you still have the files for this mix, Paul? I’m curious what would change if you used some Access Analog on it. I thought their Distressor sounded much better than the Mike-E. It just blended better and added more of that toe-tapping energy. But I’m guessing it was hooked up to their Aurora N and had some of that Lynx sound on it. When I got Fusion and ran it through the Twin, I noticed that it was still great, but missing what the Lynx brought to the table on AA. I’m definitely curious what your work would sound like if you added some stuff from Access Analog. Also, if you read some of the detailed posts from Dan at realgearonline who also goes by tomegatherion at Gearspace, he explains how a lot of plugins don’t work properly when used certain ways. He does change his opinions from time to time as he gets to know stuff though. Now he loves Sonnox Drumgate, for example. He brought up a lot of good points about MolotGE. Another guy was saying it even compared well with his hardware 1176 clone. For the record, I’m aware that there is a lot of bad hardware out there that can be worse than the average plugin. My only experience with hardware has been through AA or using my live gear. Like a Digitech Vocalist live 4. I recorded vocals with mine in a home studio and I know if I had opted to go with plugins that the FX would have been sounded much thinner. I’m not sure I’ve ever really been able to get plugin fx to measure up with the VL4. But the VL4 is noisy and not meant for the studio. Too bad some kinda Eventide H3000 or H8000 costs so much and would be a pain to use. Do you use any Eventide plugins? For me, those made a huge difference. I’ll often put an H3000 across my vocal bus. Use an H910 on guitars. I recognize the sound a lot on classic albums. Do you use a lot of tape plugins? How about Overloud Dopamine? Any UAD? A lot of times switching out reverbs or delay can radically change my mix. I’ll often separately bounce with a 224, 480, and Oxford Reverb. Meaning that one mix has the 224 and the next one will have the 480 instead, etc. The 224 I find makes for the easiest and most cohesive results. I’ll often use Capitol Chambers and Seventh Heaven Pro along with them. Just a small bit of each. You might be able to fix that pop or whatever noise someone mentioned in another comment using one of the Sonnox restore plugins. I used one to make the buzz in this bass track a guy sent me basically inaudible. The bass was often the only instrument going during the verses along with the drums. Do you like the Black Box plugin at all? I find that adding it to stereo tracks and busses adds a layer of cohesiveness even when leaving it in default. Your mixes are very balanced and have a good vibe, and I’m definitely curious what you could do with expanded access to good hardware and some of these plugins I mentioned if you’ve never tried them. It would make for a really interesting video at the least.
I think he hit the nail on the head. The track sounded fantastic but some of the things Warren mentioned were things I noticed while listening. The vocal transitions. The low end and some of the guitars (loved the placement and sonic space you gave them but just a bit more oomph) All the elements in the mix have their own sonic space and placement which is something I noticed right away. I hope I can eventually get to the same place with my mixes even though I produce an entirely different type of music. Its also very cool to see two of my favorite musical youtube content creators collaborate. keep up the great work.
Paul, you did a great job! You like a tight low end. I do also. If you want control, you can blend some subharmonic synth either with a triggered sub sine (gate side chained to kick) or a sub generator! The vocal seems to lack stereo surprise. Perhaps some use of delay throw in the chorus. On that instrumental bridge, I wonder if you could add some unpredictability by doing a high feedback delay on the piano into some type of ambience. Can automate and ride it. Just some ideas! And for the wide guitars, I wonder if some of the high end on those could come down (12k+) and poke the 3-5kHz to compensate. That could also impact your mixing choice on the snare. Has less to compete with.
Tbh I just get it to where I'm happy with it and move on haha I don't like to overthink them after the fact unless there is something pretty glaring. If it was for the client and they wanted it then I'd look at other things but I find trying things out on the next mix is usually the best way to move forward. Moving forward I'll most likely alter my hpf's on the kick and bass as well as trying out a bx subsynth on the kick. On chorus's probably add some 3-5k on the sides via M/S to give that presence whilst also adding a bit of width at the same time.
@@PaulThird You’re right lol. Open your music up to the public and here comes the peanut gallery 😂. You’re a champ tho. I’m excited for you. About M/S. I will say, M/S EQ encoding isn’t always reliable to me. You could also explore raising the that 3-5kHz area w/ simple stereo eq and apply inverted pitch mod to the left and right. Even just a small hint of wow will throw the phase off enough and widen the guitars while also brightening their side presence. -Sometimes the way M/S encoding works it can still start interfering with the mid channel in undesirable ways - to my ears. (Total nerd rant lol). Do you ever notice m/s having buggy artifacts?
Nah. Just using an harmaan eq preset another engineer uses with sundaras. I'll reference the mix with eq on & off near the end of the mix. If I feel it's needed I'll throw in a speaker sim but not really felt the need tbh as I reference other mixes before opening a session
I recon the mix analog telefunken would sound great on this mix, going in hot. I feel like I can't get any other tape machine plugin to sound as good as that thing.
@@PaulThird I didn't like the sound of that Telefunken before, but I think they changed the tape formulation and now it sounds great on some things. Great sounding mix by the way! A fellow ADD guy here, big shout out to you for all your work with all the challenges it brings!
So, good comments! And great mix, Paul! I have my own thoughts. I would not pan the guitars quite as wide in the verses, and then on the chorus, expand that panning. Make them possibly feel bigger - not with EQ as Warren suggests - but some gentle detuning or delay. The challenge here is the treatment on the vox in the chorus. Intelligibility goes down with the treatment you’re using - it’s very nice and I love the style - but with Warren’s EQ suggestion, I think the vox will be essentially lost when it comes to words. I think my approach might give that energy and expansiveness while not competing with the center vox. Also, generally, I’d like the vox up a dB or dB.5. It’s possible widening them might help, too/or instead of volume increase (I think both). (I like iZotope’s imaging for a nuanced way of doing this, just a thought.) I agree with Warren - the sound of your snare is awesome. Incredible. You might consider dropping it a bit during the verse and popping it back up during chorus. Along with the guitar treatment, I think this would help clarify the arrangement. Overall, SUPERB. So nice! And I love your channel. PS Got Acustica COFFEE recently thanks to your in-depth review and I love it.
It's funny cause the chorus vox was already printed distorted haha that's what I had in the session. I did change the fx on it compared to the verses though but I definitely didnt add any more distortion. Dunno if I maybe missed a vocal in the session but I just went with what I had haha
Nice work Mr Third. I particularly liked the song and the lead vocal performance and treatment. My only desire would have been for more hi hat and cymbals and a touch more of the early reflections from the room. Liked the guitar panning too. Cheers 🤘
Sounds great Paul. Punchy and rocking. I like the vocal and how it sits in your face without being harsh. Nice touch with the distortion in the chorus. The balance is great and compression and eq are spot on. If I were to offer any criticism, its that the whole thing could use a bit more ambience. I get the kings of leon, indie rock vibes from the mix. These drums sound so punchy and in your face. Placing the drums a bit further in a room, maybe using a convolution reverb or something, might suit the genre a tad better. But that's just my taste really. Great mix over all. Thanks for sharing, love your channel. Take care now
Hey Paul, what do you reckon to the idea of providing the multi-tracks and letting other mixers have a go (if that's possible)? I've found listening to the contrast between your own mix (of something you know well) as well as other people's mixes, can give a contrast that helps see it from a new perspective. For instance, a mix I did for a client was remixed as a special one-off by Kris Fredrikkson. It let me hear many of the limitations in my creativity as well as my mix "dullness" (poor dynamics, poor EQ choices, etc.) I love your mix, by the way! Currently out of the studio and listening on the iPad, so not the best listening environment, but the power comes through very well. Your mix sounds "alive" and really full of energy. Will have a listen again when back in the studio. Thanks so much for sharing it with us. 😃
The multitracks were provided by produce like a pro so I can't share them with others. Warren only reviews mixes from multitracks they've provided. If your an academy member then you have access to the multitracks I've been using recently 🤓
Mix was sweet. Mix a lot of rock and never was able to get the sound I wanted without double tracking the chords. I also double track leads just to have them and usually have those panned LR as well. You def made it work though! Could def hear everything v distinctly throughout. Vocals sounded great too.
Great work and completely agree with Warren's assessment. I'm a huge Spike Stent fan, oddly I contacted him about a hi hat sound I thought was just the kippers knickers. Lovely guy and quite humble surprisingly and refreshingly! Not to point out the obvious but I personally find it impossible to talk about Mark without also mentioning Cenzo Townshend, arguably another one of the great mixers of our time and another guy who is just down to earth and very approachable. Great people make great mixers. Cenzo's snares and vocals are always worth a reference, especially with guitar based rock, imho. Be well kind man ✌️ 🎶 🎶
@@PaulThird ha! No not next door but I've known of Warren since 2000's,he produced a friend's album that stands to this day as one of my favourite rock records. Never met him or spoken to him but I did grow up down the road from what is now Cenzo's Decoy Sound studio and list him as the most inspiring and influential mixers in my world. Cenzo and Mark and Stephen Street have looong history working together. Though very different engineers, they both impart that special tonal balance we all know as the sound of generations of radio hits. Cenzo is a bit of a sound scientist as well as having great ears and taste, I think you two would get on like a house on 🔥! Brilliant work on the mix and video with Mr Huart, I really appreciate how much you both inspire so many people unconditionally. I'll say it again, great mixers are usually great people with a strong sense of humanity and kindness towards people, especially people who don't necessarily have anything to offer to further their ambition, this is something many people overlook and it really fooking matters hey. I'd put you in that tin too mate ✌️🎶🎶
I thought the vocals had too many changes in effects. meaning just the main vocal had a completely different effect from verse to chorus. That sounded a bit generic to me. I think this would work better if there were many vocal tracks and a fuller mix. To me this band is good and I know the mix engineer were trying to make the mix sound more interesting and exciting because the song is straight forward. The mix sounds good. I felt the vocals were pushed a bit mid forward but then again just minor things and a mastering engineer can easily smooth out.
The final released version doesn't have any distorted vocals in the choruses so I dunno if I was perhaps just missing a few vocal stems. All I had was a main vocal, double and a Distorted vocal which covered the choruses. It may be possible I missed the odd vocal when exporting into the session as even the backing vox only covers that one 'waaohhh' section but I dunno I shouldve checked the finished version before I started mixing haha
In terms of creativity, I love what Nigel Godrich does to his mixes. He actually screws them up in a brilliant way, and is accountable for a good part of the “Radiohead family”’s success.
for me, I felt like it missed a little high end "sizzle" was my firs reaction. When Warren mentioned the snare maybe being a little to present sometimes, maybe if Paul ducks that snare a little, the high hat will peak out a little more. I felt maybe the decay of the High end was a little unnatural, for lack of a better word. For me personally, high end is just as tricky as low end, even more in some cases. Theres a ton of good information in the low freq for HH and cymbals, so choosing how much one should HP or H Shelf very difficult. AND Choosing where to LP / Shelf ...theres a TON of cross over 'acton' going on... Get work Paul I love ALL your videos!
Paul! I'm super proud of you man! The mix sounds great, I would be proud to turn that into any client I work with. Steller job man! P.S.- I believe I have heard someone mention the kick/bass relationship before to you....... I just can't remember where?!?! hahahaha!!!!! :-)
@@PaulThird If it's worth anything to you, I just pick which I'm going to have hold down the low end and where that is going to sit. For me, it's typically the kick at around 50Hz. Then I just highpass the bass where the kick is living. Usually around 80 - 100Hz. I use a resonant highpass.
Spike Stent. Hes mostly a singles mixer like Serban. Mostly every Ed Sheeran track including Beyonce, Coldplay, Harry styles, selena gomez, muse, no doubt, black eyed peas, mostly every top 10 artist to come out of the UK. If there's a HUGE hit from a big artist most likely it's either Spike, Serban or Manny
GREAT👏🏻 It's always good to have a second or third set of ears to help finalize your mix. The touches you suggested would polish the mix perfectly. I thought it was a brilliant mix nonetheless 👏🏻👍🏻
Great review and a great mix. Always good to get an unbiased impartial opinion. I learned a few things form Warrens review too. The devil is in getting all the details just right. Thanks for sharing!
I know it's been a year. And your mixing had changed dramatically.... But just now critiquing. Was this just your mix, or did you do any of the production/tracking decisions? One thingi would have loved to have heard on your track is: flat out, way more delays.... to fit the song. Like way, way more would have been awesome. Both audible ones that come and go and really, really subtle ones just to float things and and give more momentums. And more compression. Warrens review was really spot on. And you're a good mixer. 😎🎸
Cool track and mix... nice insights from Warren! I don't know if anyone's asked but... were Warren's notes what you expected? If I'm being cheeky I'll also ask... what did you expect Warren to comment on - yet did not? 🙃
Nice job, I do agree with the guitar tip though. They need more balls, they are rock guitars afterall, plus there is too much going on at times and too much lcr.
I appreciate what your saying but it's not really an LCR mix. I mostly leave the hard pan stuff for fx. Most of the instruments in the mix aren't hard panned
@@PaulThird I agree, the mix is full, I am commenting on the rhythm guitars. But what do know. Music is subjective so anything goes. I’m a guitar guy so I like when they rip through in all their glory. Great job though.
Tbh I didn't do much to them. Bit of clean up and eq with a verb & delay aux to taste. Some of the lead and backing stuff had a flanger on it. That was it really. It was all miked amps from Warren
Really like the actual mix. Guitar tone was my least favorite part of the recording (sounds like a practice amp or a pedal going direct almost). Some of the vocal effects were at times a bit much for me. Drums, vocals and bass are really well balanced and sound fantastic. Well done.
I dunno what the guitars were but I know it was all miked. Didn't do much to them. Clean up, eq and some verb and delay auxes. Some flanging on the solo's and backing stuff. Pretty sure it was all recorded by Warren
Personally, I thought the bass could have come up in the chorus to fill the sound out rather than changing the guitar sound. Let the bass "lend" those missing tones to the guitars in parts.
@@PaulThird I'd just like to say, initially, I never watched your uploads and would stupidly skip by them..........I'm bloody pleased I stopped and started giving them a second look. Superb content, well explained and interesting. THANKS!!
You should try out GetGoodDrums Cab IR's. Its an 8 channel mixer that can be customizable with cabs, mics and room too. You can either use it on its own or export the comped IR and throw it in another amp modeler. I always find they sounds better 99% of the time. No joke! Love the tune! Man you can sing. honestly some of the best I've heard in awhile.
This isn't my song. I can only submit PLAP mix sessions for review haha. Warren recorded and produced all of the We were astronauts stuff im pretty sure 🤓
@@PaulThird well, i feel like a dummy, lol. Definitely liked the mix. Warren was right, i do love some lowend. Sometimes gets me in trouble. Vocal treatment was spot on. Even the mono slap verb, the feedback could have been filtered more. LPF
The guitars were not played up to studio standard - I think if they had have been the whole mix would have sounded really pro and would only take a few tweaks mastering that's it :)
@@PaulThird Not saying I could do any better, you did a great job with the separation, I think what is throwing me off is your panning, some of the guitars were very different sounding in the left and right which I (IMO) felt weird and too removed from the vibe of the song as a whole, like they were there own thing (not a part of the vibe of the song) sitting out really wide alone. I always think of RATM with there guitar mixes which are such a vibe and not making you think about the panning even though they can be really wide, you just feel the music. Hope that makes sense. Maybe with so many different guitar takes it would have been better to go the RHCP's route of having everything more central, they have created such great vibes by doing that.
Tbh I kind of felt there wasn't much I could do as the files I recieved were pretty limited in the verses. It's just 2 guitars, drums, bass and vocals. The problem with making the guitars more centralised is that it could start to get in the way of the vocal and snare. Many people have commented that LCR doesn't work here when in actual fact it's not LCR. The guitars were panned to like 90 L+R or something with the overheads and rooms being tucked back to like 80 L+R or something like that. Most of the guitar solos are bang down the middle with wide panned aux fx. I purposely left the hard panned stuff for a lot of the verbs and delays I used. Thats why the backing vox appears so wide in the bridge bit as the guitars were purposely never as wide as they could be. The lead guitar line throughout is just a very busy piece, especially compared to the power chord rhythm part so you just have to make the best with what you are given and just let them do their thing as that's obviously what the artist wanted. I could have tried to pan verbs and delays to the opposite side of both to blend them in more but I would have lost quite a bit of overall width in the process
I am radically opposed to distortion on vocals at all times. It never sounds good ever. Distortion is exactly the opposite of what we want to hear on vocals. And if we're honest, it's a Hail Mary approach that is usually only taken when the song and performance its self doesn't stand up.
Apparently there was another lead chorus vocal without distortion on it but it must've not imported right or I missed it so I just assumed the distorted vocal thing was a creative decision from the band haha I just went with it haha it was already printed distorted but must have been to sit behind the lead in the chorus
@@PaulThird Oh that was provided to you ? I thought that was a mixing choice. Anyway, I dig your channel. Even though you have made purchasing new processing plugins more complex than it was !
Ok. There were some points similar to what I would have made but totally didn't go where I would have. Mr Third, I would love the opportunity to do a show with you - maybe we both mix the same song or something and compare what we did and why like my Mix Walkthroughs. Or I just list all the reasons I am great and you suck!! LOL I am open-minded about seeing if there is soemthing we can do together. :-)
Yeeeeeeaaaah Paul!!! Excellent job my friend! You should absolutely be very proud of the great job you've done on this really enjoyable track. Here's my "take" on what I heard which needs to be taken with millions of grains of salt...errr... or would it be with a millionth of a grain? Anyway... The first thing I noticed, and which my ears are just not accustomed to hearing, are the uniquely polarized guitar parts meaning no interplay of left guitar slightly in the right via a delay, reverb, etc and vice-versa. Boring as it's been done a million times but just happens to be what these old ears and brain are used to. The next bit is likely influenced by the commentary but here goes... I agree that I wish the rhythm guitar in the chorus somehow popped out a bit more though I totally get the mix decision based on the guitar bends that occur simultaneously, likely done to make them stand out a tad more. The bass is a nice fat and round tone and while I totally dig the organic nature of the kick I do wish there was a bit more thump as mentioned but that might be a stylistic thing more than anything else for me anyway. Finally, I do feel like at certain times throughout the track, particularly in the chorus, the vocal fights the snare. There you have it.. my penny's worth(lessness). 😋
It was a step in the right direction at the time but unfortunately it didn't make the cut for my mix portfolio haha I would mix it different now but still a lot of valuable learning I took from it
@@PaulThird Wow I just realized this is 7 months old. Lol! I'm way late to the party as they say. But I for one would be quite interested to hear how you would mix this track 7 months worth of learning and experience later. 🤔
What's your guys opinion? 🤓
FYI this is the only video for this week as I've been dealt with another bad illness so I've been bedbound since last Wednesday. Today and yesterday was me starting to eat again and I'm up and about today but I've not had any time to focus on a video.
Thanks for the great video! Feel better soon Paul!
Feel better, you're NOT a failure! -chaz
I liked the space in the mix Paul. I see why Warren said about the low end. You could trigger a gated 60Hz signal generator which would add a tight but fat low end, which I suppose is not dissimilar to Warren's dbx sub harmonic
I need to try this dbx sub trick thing out. What have we got in the plugin world for this?
@@PaulThird bx_subsynth, I believe, is an emulation of a dbx subharmonic synthesizer
You're a true Gentleman my friend! Your mix was incredibly creative, your instincts are superb and I have no doubt you will continue to grow into an even more amazing mixer. You Rock Paul!
P.S. I hope you feel better soon!
Thanks again for the kind words warren 🤓 the calibre of the other mixers within your community's is proof enough to me that what you are building is worth your time and investment as its acting as a great platform for learning and development.
@@PaulThird wow! Thanks ever so much my friend! Yes, people join and grow VERY fast! It's an amazing community!
Sir Paul III., Warren is probably the nicest man on the planet. This man is true!
I second this!
at first i thought the guitar tone could have been heavier, but when the vocals are with it, it sits perfectly. I agree with the kick comment, needs more thump, but that's also your choice/taste. Really great job Paul!
If I recall I think I did hipass the kick to like 50-60 and bass to 30 so I could have swapped them about. Tbh it's been a good lesson as I've always thought about lows in a kick being a lot higher say 100hz-ish so it's something I need to experiment with in extending the low lows of the kick and removing more sub in the bass to carve that space to give the kick that low thump.
Its great to learn from your own stuff
@@PaulThird best way to learn!
i often do a pultec on the kick at 60hz. it depends on the kick though. i find 50-100hz is the sweet spot on kicks, but some go lower. So 40-100 is where the sweet spot is bound to be. i try to mix stuff where i work with the artist so i know how it was recorded to better gauge choices in this stuff. listening is the best way always. part of my issue is my small room with bad acoustics, if you are working in a similar situation or have small speakers (below 6") it can be tough to get the super low end right. I too often struggle getting the low end just right. either i over do it and the mix is cloudy or how i've been doing lately is a weaker low end. Often i will choose bass or kick and just hi-pass everything below 60/80 on that one so the other cuts through the low end nicely. sadly these are anything but rules and you still got a killer mix in the end. Besides at the end of the day most people will be listening on ear buds and phone speakers 😂.
That's why i do everything on headphones haha ever since I got the sundaras and topping headphone amp I never looked back
@@PaulThird yeah headphones are great especially when combined with the dearVR monitor or waves nx stuff. I will say that I still think it is best to use more as references than the main spot to mix, but i plan on doing a few mixes of all tracks exclusively on headphones. Gotta learn better video editing to post all these content ideas to youtube 😂.
I didn't mind the snare. I actually liked how forward it was, but my gut reaction was also that the guitars needed a tiny bit more beef, but I always make mine THICC! I think it sounded great to be honest. Why you aren't mixing for clients is beyond me.
Tbh its always been a confidence thing with me. I'm extra hard on myself and never felt I was ready for clients. That and the fact that I genuinely have no idea how to get clients in the UK. Especially Scotland. We genuinely have such a small music scene. If I was doing this during the noughties indie boom Id be making a f**king fortune 🤣
@@PaulThird If I can find work in a small city in Canada, I'm sure you can find work too. Online marketing is your friend and you already have an online presence with your RUclips channel. All the best.
Great with an expert commenting on another expert's mix. I learn a lot from these kinds of teachings.
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Thought it sounded great. Agreed that there could be more sub on the kick, and that the guitars could be a tiny bit more forward.
I liked the loud snare.
I think the guitars worked, and it's more of a taste thing.
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Excellent, thanks for sharing Warren's thoughts on your mix.
Great mix to my old ears in general, the only thing I'd say is I'd like a bit more grit on the guitars, it was all very clean and as an ageing punk I like things a bit dirty. Obviously this is a taste thing and not to say there's anything wrong with the way you handled it. Fascinating!
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Cool to see some of your work getting this attention. I enjoyed the mix. Congrats on the powerful comments about what you are doing on your channel.
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Not sure if anyone has mentioned it, but just after 5:50 there is a very audible audible click and hum in the right guitar channel. Needs removing. Surprised Warren didn't pick up on it. Maybe he did and didn't want to get too specific. Hopefully you find this observation constructive, it can be easy to miss these things, but it immediately jumped out when I was listening.
this is really bean counterish, my friend
@@100states6 Not really. If the goal is to be a pro mixer (that people pay money for) it's a basic requirement to discern such obvious oversight from creative choice. This is why I get paid to mix and master music and you don't.
I can't remember why I didn't take it out. There was a reason. Either it was detrimental to the part that was playing in regards to treatment or something else.
Dunno if Warren took it out the final version he mixed. Is what it is but I know which part you mean.
BTW 100 states is actually a very well known engineer from Germany. Worked with take that and stuff.
Hey Paul, Great mix! Thank you for posting this, it is great advertisement for the community. I have been doing the same goal as you for the past year and am working on mix 81. It is all about practice for any craft or art to become proficient. That is what I think is really special about Produce Like a Pro. Where else can you get 100+ songs with multi-tracks to mix which you can use publicly for your portfolio. I hope you got a chance to listen to my mix (right before yours) from last Friday. Cheers!
I listened to it all live even though I was dying and pretty out of it haha 🤓 I recall yours got a very good reception as you really put your own stamp on it. I think it was only the level of vocal saturation that was the only comment.
Funny, I knew Warren would want something with the Kick, but I didn't think he'd ask for more low-lows on it (I thought he'd go the other way and ask for a bit more "click" (which I don't like on kicks)). And I thought this BECAUSE of the bass. Now Warren suggests to highpass it (the bass) a bit more - that's an approach too! Told you the vocals are perfect. He's probably right about the guitars, but that I didn't hear. Now that he said it it makes sense to try it and see if you like it. When it comes to the snare.. I like it like that. Having it poke out let's the vocals sit back a little bit and creates depth. But I just like snappy, poky snares - maybe that's a me-thing!
I really liked this review of your mix by Warren. It all makes a lot of sense.
I agree. Very constructive feedback that is very logical 🤓
Thanks Gerhard! Always love your comments, they are clearly very well thought out!
@@Producelikeapro Thanks, that means a lot Warren! I'm a slow learner, especially when it comes to mixing. My ears get "lost" in the mix - causing bad judgements - all the time. I don't have this issue while producing. That's why I try to be very rational and conscious in my approach to learn mixing, in order to fight my lack of talent with thought and knowledge. Hopefully it will let me become a capable mixer over the years - sometimes slow and steady gets to the goal and I really don't care about winning the race.
@@akagerhard slow and steady makes perfect sense to me! I only learn from mistakes myself!
Wow thanks for talking about Spike Stent ! I didn't knew him, I went and listened to "Hella good" and other musics and I feel like he is using a lot of harmonic distortion, there is a lot of brightness, a little bit like a Greg wells mix, it's awesome 💖
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Paul, love the mix. It’s got great vibe and creativity. I agree with Warren on the snare, it was one of the first things that I noticed. Reminded me of the Mike-E snare sound from your video about that. A mastering engineer would be able to do a lot with this.
Your mix is very current, but in a good way. I’ll read the rest of the comments to see if you gave any insight into what you did. It’s definitely a lot different from what I try to do, but I give you a lot of credit for doing a great job.
It wasn't good enough in the end to make it on my portfolio but was a half decent attempt. Too much LCR on this which I purposely went with but wasn't the best decision in hindsight. You live and learn
@@PaulThird Paul, here’s the thing. Your mix allows the listener to connect with the song. That can be tough to accomplish with a DAW alone. I find that I only minimally connect with a lot of modern stuff.
There’s a big difference between say Metallica Hardwired and say Ride The Lightning or even Reload. The 2004 Megadeth remixes also don’t connect anywhere as well as the originals.
I’m pretty sure Spike Stent mixed the Foxes record with Body Talk. That record really harkens back to the classics while also having a lot of new creativity to it. Highly recommended.
Do you still have the files for this mix, Paul? I’m curious what would change if you used some Access Analog on it. I thought their Distressor sounded much better than the Mike-E. It just blended better and added more of that toe-tapping energy. But I’m guessing it was hooked up to their Aurora N and had some of that Lynx sound on it. When I got Fusion and ran it through the Twin, I noticed that it was still great, but missing what the Lynx brought to the table on AA.
I’m definitely curious what your work would sound like if you added some stuff from Access Analog.
Also, if you read some of the detailed posts from Dan at realgearonline who also goes by tomegatherion at Gearspace, he explains how a lot of plugins don’t work properly when used certain ways. He does change his opinions from time to time as he gets to know stuff though. Now he loves Sonnox Drumgate, for example.
He brought up a lot of good points about MolotGE. Another guy was saying it even compared well with his hardware 1176 clone. For the record, I’m aware that there is a lot of bad hardware out there that can be worse than the average plugin.
My only experience with hardware has been through AA or using my live gear. Like a Digitech Vocalist live 4. I recorded vocals with mine in a home studio and I know if I had opted to go with plugins that the FX would have been sounded much thinner. I’m not sure I’ve ever really been able to get plugin fx to measure up with the VL4. But the VL4 is noisy and not meant for the studio. Too bad some kinda Eventide H3000 or H8000 costs so much and would be a pain to use.
Do you use any Eventide plugins? For me, those made a huge difference. I’ll often put an H3000 across my vocal bus. Use an H910 on guitars. I recognize the sound a lot on classic albums.
Do you use a lot of tape plugins? How about Overloud Dopamine? Any UAD?
A lot of times switching out reverbs or delay can radically change my mix. I’ll often separately bounce with a 224, 480, and Oxford Reverb. Meaning that one mix has the 224 and the next one will have the 480 instead, etc. The 224 I find makes for the easiest and most cohesive results. I’ll often use Capitol Chambers and Seventh Heaven Pro along with them. Just a small bit of each.
You might be able to fix that pop or whatever noise someone mentioned in another comment using one of the Sonnox restore plugins. I used one to make the buzz in this bass track a guy sent me basically inaudible. The bass was often the only instrument going during the verses along with the drums.
Do you like the Black Box plugin at all? I find that adding it to stereo tracks and busses adds a layer of cohesiveness even when leaving it in default.
Your mixes are very balanced and have a good vibe, and I’m definitely curious what you could do with expanded access to good hardware and some of these plugins I mentioned if you’ve never tried them.
It would make for a really interesting video at the least.
I think he hit the nail on the head. The track sounded fantastic but some of the things Warren mentioned were things I noticed while listening. The vocal transitions. The low end and some of the guitars (loved the placement and sonic space you gave them but just a bit more oomph) All the elements in the mix have their own sonic space and placement which is something I noticed right away. I hope I can eventually get to the same place with my mixes even though I produce an entirely different type of music. Its also very cool to see two of my favorite musical youtube content creators collaborate. keep up the great work.
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Paul, you did a great job! You like a tight low end. I do also. If you want control, you can blend some subharmonic synth either with a triggered sub sine (gate side chained to kick) or a sub generator! The vocal seems to lack stereo surprise. Perhaps some use of delay throw in the chorus. On that instrumental bridge, I wonder if you could add some unpredictability by doing a high feedback delay on the piano into some type of ambience. Can automate and ride it. Just some ideas! And for the wide guitars, I wonder if some of the high end on those could come down (12k+) and poke the 3-5kHz to compensate. That could also impact your mixing choice on the snare. Has less to compete with.
Tbh I just get it to where I'm happy with it and move on haha I don't like to overthink them after the fact unless there is something pretty glaring. If it was for the client and they wanted it then I'd look at other things but I find trying things out on the next mix is usually the best way to move forward.
Moving forward I'll most likely alter my hpf's on the kick and bass as well as trying out a bx subsynth on the kick. On chorus's probably add some 3-5k on the sides via M/S to give that presence whilst also adding a bit of width at the same time.
@@PaulThird You’re right lol. Open your music up to the public and here comes the peanut gallery 😂. You’re a champ tho. I’m excited for you. About M/S. I will say, M/S EQ encoding isn’t always reliable to me. You could also explore raising the that 3-5kHz area w/ simple stereo eq and apply inverted pitch mod to the left and right. Even just a small hint of wow will throw the phase off enough and widen the guitars while also brightening their side presence. -Sometimes the way M/S encoding works it can still start interfering with the mid channel in undesirable ways - to my ears. (Total nerd rant lol). Do you ever notice m/s having buggy artifacts?
Hey Paul. Do you mix on headphones?
Yeah 🤓
@@PaulThird same here at the moment. You use sienna or something like that?
Nah. Just using an harmaan eq preset another engineer uses with sundaras. I'll reference the mix with eq on & off near the end of the mix. If I feel it's needed I'll throw in a speaker sim but not really felt the need tbh as I reference other mixes before opening a session
Which headphones do you use?
@@WillyJunior i use HD 600
Wow! Great to hear this, Paul!
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Great work, Paul :D
And hope you feel better soon!
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I recon the mix analog telefunken would sound great on this mix, going in hot. I feel like I can't get any other tape machine plugin to sound as good as that thing.
Not a big tape fan myself. Mostly very subtle in most cases especially with high quality tape machines like a studer but I never tried the telefunken
@@PaulThird I didn't like the sound of that Telefunken before, but I think they changed the tape formulation and now it sounds great on some things. Great sounding mix by the way! A fellow ADD guy here, big shout out to you for all your work with all the challenges it brings!
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So, good comments! And great mix, Paul! I have my own thoughts. I would not pan the guitars quite as wide in the verses, and then on the chorus, expand that panning. Make them possibly feel bigger - not with EQ as Warren suggests - but some gentle detuning or delay. The challenge here is the treatment on the vox in the chorus. Intelligibility goes down with the treatment you’re using - it’s very nice and I love the style - but with Warren’s EQ suggestion, I think the vox will be essentially lost when it comes to words. I think my approach might give that energy and expansiveness while not competing with the center vox. Also, generally, I’d like the vox up a dB or dB.5. It’s possible widening them might help, too/or instead of volume increase (I think both). (I like iZotope’s imaging for a nuanced way of doing this, just a thought.) I agree with Warren - the sound of your snare is awesome. Incredible. You might consider dropping it a bit during the verse and popping it back up during chorus. Along with the guitar treatment, I think this would help clarify the arrangement. Overall, SUPERB. So nice! And I love your channel. PS Got Acustica COFFEE recently thanks to your in-depth review and I love it.
It's funny cause the chorus vox was already printed distorted haha that's what I had in the session. I did change the fx on it compared to the verses though but I definitely didnt add any more distortion. Dunno if I maybe missed a vocal in the session but I just went with what I had haha
@@PaulThird You definitely missed the clean chorus vox ;) but it worked like that, i love it
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Nice work Mr Third. I particularly liked the song and the lead vocal performance and treatment. My only desire would have been for more hi hat and cymbals and a touch more of the early reflections from the room. Liked the guitar panning too. Cheers 🤘
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To me, this is a good song, because on the first listen, you're singing along by the end of it. I always aim for that.
That’s great to hear!!
Sounds great Paul. Punchy and rocking. I like the vocal and how it sits in your face without being harsh. Nice touch with the distortion in the chorus. The balance is great and compression and eq are spot on. If I were to offer any criticism, its that the whole thing could use a bit more ambience. I get the kings of leon, indie rock vibes from the mix. These drums sound so punchy and in your face. Placing the drums a bit further in a room, maybe using a convolution reverb or something, might suit the genre a tad better. But that's just my taste really. Great mix over all. Thanks for sharing, love your channel. Take care now
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Good mix Paul. Great job on the vocals. I agree with Warren's comments but still very good.
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Hey Paul, what do you reckon to the idea of providing the multi-tracks and letting other mixers have a go (if that's possible)? I've found listening to the contrast between your own mix (of something you know well) as well as other people's mixes, can give a contrast that helps see it from a new perspective. For instance, a mix I did for a client was remixed as a special one-off by Kris Fredrikkson. It let me hear many of the limitations in my creativity as well as my mix "dullness" (poor dynamics, poor EQ choices, etc.) I love your mix, by the way! Currently out of the studio and listening on the iPad, so not the best listening environment, but the power comes through very well. Your mix sounds "alive" and really full of energy. Will have a listen again when back in the studio. Thanks so much for sharing it with us. 😃
The multitracks were provided by produce like a pro so I can't share them with others. Warren only reviews mixes from multitracks they've provided.
If your an academy member then you have access to the multitracks I've been using recently 🤓
@@PaulThird Oh, of course! I should've known it was a PLAP multitrack. :) I'm going to rejoin soon. Will have a go at mixing it when I do!
i know im late for the party. how this song was recorded ?
Not entirely sure. Not sure if Warren made a video discussing it on the produce like a pro channel 🤷♂️
Thats awesome to get that feedback. Also, get well soon!
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Mix was sweet. Mix a lot of rock and never was able to get the sound I wanted without double tracking the chords. I also double track leads just to have them and usually have those panned LR as well. You def made it work though! Could def hear everything v distinctly throughout. Vocals sounded great too.
Thanks man 🤜🤛
Great work and completely agree with Warren's assessment. I'm a huge Spike Stent fan, oddly I contacted him about a hi hat sound I thought was just the kippers knickers. Lovely guy and quite humble surprisingly and refreshingly! Not to point out the obvious but I personally find it impossible to talk about Mark without also mentioning Cenzo Townshend, arguably another one of the great mixers of our time and another guy who is just down to earth and very approachable. Great people make great mixers. Cenzo's snares and vocals are always worth a reference, especially with guitar based rock, imho. Be well kind man ✌️ 🎶 🎶
Thanks man 🤓 btw Kippers knickers is brilliant haha .. Do you live next door to Warren?. . Gotta be careful with the shnitz n shniggles 🤣
@@PaulThird ha! No not next door but I've known of Warren since 2000's,he produced a friend's album that stands to this day as one of my favourite rock records. Never met him or spoken to him but I did grow up down the road from what is now Cenzo's Decoy Sound studio and list him as the most inspiring and influential mixers in my world. Cenzo and Mark and Stephen Street have looong history working together. Though very different engineers, they both impart that special tonal balance we all know as the sound of generations of radio hits. Cenzo is a bit of a sound scientist as well as having great ears and taste, I think you two would get on like a house on 🔥! Brilliant work on the mix and video with Mr Huart, I really appreciate how much you both inspire so many people unconditionally. I'll say it again, great mixers are usually great people with a strong sense of humanity and kindness towards people, especially people who don't necessarily have anything to offer to further their ambition, this is something many people overlook and it really fooking matters hey. I'd put you in that tin too mate ✌️🎶🎶
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Good video. Imho the vocal is one generally too high in the mix and two too treble heavy in places.
I thought the vocals had too many changes in effects. meaning just the main vocal had a completely different effect from verse to chorus. That sounded a bit generic to me. I think this would work better if there were many vocal tracks and a fuller mix. To me this band is good and I know the mix engineer were trying to make the mix sound more interesting and exciting because the song is straight forward. The mix sounds good. I felt the vocals were pushed a bit mid forward but then again just minor things and a mastering engineer can easily smooth out.
The chorus vocals came already distorted so I just had to make the best with what I had 🤓
Sorry man have never thought that. I am guilted now.
The final released version doesn't have any distorted vocals in the choruses so I dunno if I was perhaps just missing a few vocal stems. All I had was a main vocal, double and a Distorted vocal which covered the choruses. It may be possible I missed the odd vocal when exporting into the session as even the backing vox only covers that one 'waaohhh' section but I dunno
I shouldve checked the finished version before I started mixing haha
In terms of creativity, I love what Nigel Godrich does to his mixes. He actually screws them up in a brilliant way, and is accountable for a good part of the “Radiohead family”’s success.
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for me, I felt like it missed a little high end "sizzle" was my firs reaction. When Warren mentioned the snare maybe being a little to present sometimes, maybe if Paul ducks that snare a little, the high hat will peak out a little more. I felt maybe the decay of the High end was a little unnatural, for lack of a better word. For me personally, high end is just as tricky as low end, even more in some cases. Theres a ton of good information in the low freq for HH and cymbals, so choosing how much one should HP or H Shelf very difficult. AND Choosing where to LP / Shelf ...theres a TON of cross over 'acton' going on... Get work Paul I love ALL your videos!
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Paul! I'm super proud of you man! The mix sounds great, I would be proud to turn that into any client I work with. Steller job man!
P.S.- I believe I have heard someone mention the kick/bass relationship before to you....... I just can't remember where?!?! hahahaha!!!!! :-)
I will master the kick bass thing eventually haha 🤜🤛
@@PaulThird If it's worth anything to you, I just pick which I'm going to have hold down the low end and where that is going to sit. For me, it's typically the kick at around 50Hz. Then I just highpass the bass where the kick is living. Usually around 80 - 100Hz. I use a resonant highpass.
Go hard Paul! Love your channel!
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Damnnnn that song is so fire! 🔥🔥🔥
Is this song out? I wanna blast it in the car
I put it up on soundcloud but the band have their own mix and master on youtube and Spotify I think
Very cool mix Paul, sounds very together my friend. Very tasteful creativity on vox!
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Who is "Spike" and what are good examples of his work?
Spike Stent. Hes mostly a singles mixer like Serban. Mostly every Ed Sheeran track including Beyonce, Coldplay, Harry styles, selena gomez, muse, no doubt, black eyed peas, mostly every top 10 artist to come out of the UK.
If there's a HUGE hit from a big artist most likely it's either Spike, Serban or Manny
Love the mix my dude. Upfront, wide and punchy 🤛🤛🤛
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GREAT👏🏻
It's always good to have a second or third set of ears to help finalize your mix. The touches you suggested would polish the mix perfectly. I thought it was a brilliant mix nonetheless 👏🏻👍🏻
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Nice work Paul! Well done mate 🎉
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Paul Third & Julian Krause!
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We LOVE both! Julian Rocks!
Great review and a great mix. Always good to get an unbiased impartial opinion. I learned a few things form Warrens review too. The devil is in getting all the details just right. Thanks for sharing!
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Great track! Killer vocals! Like others have said, I agree about the guitars being too thin and fizzy. Great job!
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I love the energy on this track. Sounds good to me
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I know it's been a year. And your mixing had changed dramatically.... But just now critiquing.
Was this just your mix, or did you do any of the production/tracking decisions?
One thingi would have loved to have heard on your track is: flat out, way more delays.... to fit the song. Like way, way more would have been awesome. Both audible ones that come and go and really, really subtle ones just to float things and and give more momentums.
And more compression.
Warrens review was really spot on. And you're a good mixer.
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All the production was done by warren. Tbh looking back at it now I hate the mix haha that's why i didn't end up including it in my portfolio
Love this channel and you have some big balls my friend.
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Feel better mate, nuff blessings!
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Love your overheads tho..
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Wow! That was an ultra clean, stellar mix!
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Aw man, that must've been nerve wracking! 😂
I was pretty confident with it so I was more intrigued with what tweaks he would suggest 🤓
Cool track and mix... nice insights from Warren! I don't know if anyone's asked but... were Warren's notes what you expected? If I'm being cheeky I'll also ask... what did you expect Warren to comment on - yet did not? 🙃
Tbh I wasn't expecting the extended low end on the kick but was thinking the guitars would maybe get a mention as I mixed it to be very forward
I'm not going to nitpick Paul. Really good mix to my ears!
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Nice job, I do agree with the guitar tip though. They need more balls, they are rock guitars afterall, plus there is too much going on at times and too much lcr.
I appreciate what your saying but it's not really an LCR mix. I mostly leave the hard pan stuff for fx. Most of the instruments in the mix aren't hard panned
@@PaulThird I agree, the mix is full, I am commenting on the rhythm guitars. But what do know. Music is subjective so anything goes. I’m a guitar guy so I like when they rip through in all their glory. Great job though.
Guitars sound artifical. Even with plugins you can create tube amp sounds indistinguishable from miked real amps. The same with the drums.
@Paul Third Btw. I love your channel. I base my plugin buying decisions often on your tests.
Tbh I didn't do much to them. Bit of clean up and eq with a verb & delay aux to taste. Some of the lead and backing stuff had a flanger on it.
That was it really. It was all miked amps from Warren
@@PaulThird yes, those are all real amps. Thanks for the great comment!
Mix is pretty damn good, sounds like older Kings Of Leon
Ha. Guess I nailed it with the KOL comparison
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Well done Paul.
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Really like the actual mix. Guitar tone was my least favorite part of the recording (sounds like a practice amp or a pedal going direct almost). Some of the vocal effects were at times a bit much for me. Drums, vocals and bass are really well balanced and sound fantastic. Well done.
I dunno what the guitars were but I know it was all miked. Didn't do much to them. Clean up, eq and some verb and delay auxes. Some flanging on the solo's and backing stuff. Pretty sure it was all recorded by Warren
Warren as you always say in this channel please just high pass that shinizzell rumble on mic😜
Haha indeed!
Personally, I thought the bass could have come up in the chorus to fill the sound out rather than changing the guitar sound. Let the bass "lend" those missing tones to the guitars in parts.
Sounds sick! Maaaayyyybeeee the snare could have been turned down a touch bit who cares what I think 😀🙏
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Nice mix. Hope you're doing better soon.
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i heard the same band in this ''your mix is on fire' esqe
Nice Mix Paul Bravo!
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Great Mix Paul
Thanks man 🤓
Get well soon
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In mixing there are no rules, just things that maybe you should know.
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It’s all about taste I love it.
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@UC0xGewfERwotY7cB4Pt_gUg ok 😮
I would like a copy of the stems first including clean guitar DI if possible without the effects pedals so I can mix it properly.
Well done Mr T.
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@@PaulThird I'd just like to say, initially, I never watched your uploads and would stupidly skip by them..........I'm bloody pleased I stopped and started giving them a second look. Superb content, well explained and interesting. THANKS!!
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You should try out GetGoodDrums Cab IR's. Its an 8 channel mixer that can be customizable with cabs, mics and room too. You can either use it on its own or export the comped IR and throw it in another amp modeler. I always find they sounds better 99% of the time. No joke! Love the tune! Man you can sing. honestly some of the best I've heard in awhile.
This isn't my song. I can only submit PLAP mix sessions for review haha. Warren recorded and produced all of the We were astronauts stuff im pretty sure 🤓
@@PaulThird well, i feel like a dummy, lol. Definitely liked the mix. Warren was right, i do love some lowend. Sometimes gets me in trouble. Vocal treatment was spot on. Even the mono slap verb, the feedback could have been filtered more. LPF
The guitars were not played up to studio standard - I think if they had have been the whole mix would have sounded really pro and would only take a few tweaks mastering that's it :)
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Great separation but too much, everything felt to separate from each other like the mix was sort hollow taking away from the vibe of the song.
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@@PaulThird Not saying I could do any better, you did a great job with the separation, I think what is throwing me off is your panning, some of the guitars were very different sounding in the left and right which I (IMO) felt weird and too removed from the vibe of the song as a whole, like they were there own thing (not a part of the vibe of the song) sitting out really wide alone. I always think of RATM with there guitar mixes which are such a vibe and not making you think about the panning even though they can be really wide, you just feel the music. Hope that makes sense.
Maybe with so many different guitar takes it would have been better to go the RHCP's route of having everything more central, they have created such great vibes by doing that.
Tbh I kind of felt there wasn't much I could do as the files I recieved were pretty limited in the verses. It's just 2 guitars, drums, bass and vocals. The problem with making the guitars more centralised is that it could start to get in the way of the vocal and snare. Many people have commented that LCR doesn't work here when in actual fact it's not LCR. The guitars were panned to like 90 L+R or something with the overheads and rooms being tucked back to like 80 L+R or something like that. Most of the guitar solos are bang down the middle with wide panned aux fx. I purposely left the hard panned stuff for a lot of the verbs and delays I used. Thats why the backing vox appears so wide in the bridge bit as the guitars were purposely never as wide as they could be.
The lead guitar line throughout is just a very busy piece, especially compared to the power chord rhythm part so you just have to make the best with what you are given and just let them do their thing as that's obviously what the artist wanted. I could have tried to pan verbs and delays to the opposite side of both to blend them in more but I would have lost quite a bit of overall width in the process
I am radically opposed to distortion on vocals at all times. It never sounds good ever. Distortion is exactly the opposite of what we want to hear on vocals. And if we're honest, it's a Hail Mary approach that is usually only taken when the song and performance its self doesn't stand up.
Apparently there was another lead chorus vocal without distortion on it but it must've not imported right or I missed it so I just assumed the distorted vocal thing was a creative decision from the band haha I just went with it haha it was already printed distorted but must have been to sit behind the lead in the chorus
@@PaulThird Oh that was provided to you ? I thought that was a mixing choice. Anyway, I dig your channel. Even though you have made purchasing new processing plugins more complex than it was !
Yeah I just went with it 🤣
more bass please
Ok. There were some points similar to what I would have made but totally didn't go where I would have. Mr Third, I would love the opportunity to do a show with you - maybe we both mix the same song or something and compare what we did and why like my Mix Walkthroughs. Or I just list all the reasons I am great and you suck!! LOL
I am open-minded about seeing if there is soemthing we can do together.
:-)
Your awesome Warren
You’re very kind! Paul is amazing! Big fan!!
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Remember to check out my autism channel if you want to learn more about my life 🤓🤓
Kings of Leon Sex on Fire obviously, with Teenage Fanclub sitting in the back of the car..
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I fell asleep during the feedback. The mix is great, I’d love to see the session.
If there's anything your interested in just ask 🤓
@@PaulThird how do I contact you?
Dm me on Instagram or email paulthird.taysound@gmail.com
Many fall asleep when Paul is not talking. (me included)
@@PaulThird gotcha!
Warren Huart. The only person on the planet who can make an Earthworks mic sound shit.
what a
Too harsh for my ears!
Yeeeeeeaaaah Paul!!! Excellent job my friend! You should absolutely be very proud of the great job you've done on this really enjoyable track. Here's my "take" on what I heard which needs to be taken with millions of grains of salt...errr... or would it be with a millionth of a grain? Anyway... The first thing I noticed, and which my ears are just not accustomed to hearing, are the uniquely polarized guitar parts meaning no interplay of left guitar slightly in the right via a delay, reverb, etc and vice-versa. Boring as it's been done a million times but just happens to be what these old ears and brain are used to. The next bit is likely influenced by the commentary but here goes... I agree that I wish the rhythm guitar in the chorus somehow popped out a bit more though I totally get the mix decision based on the guitar bends that occur simultaneously, likely done to make them stand out a tad more. The bass is a nice fat and round tone and while I totally dig the organic nature of the kick I do wish there was a bit more thump as mentioned but that might be a stylistic thing more than anything else for me anyway. Finally, I do feel like at certain times throughout the track, particularly in the chorus, the vocal fights the snare. There you have it.. my penny's worth(lessness). 😋
It was a step in the right direction at the time but unfortunately it didn't make the cut for my mix portfolio haha I would mix it different now but still a lot of valuable learning I took from it
@@PaulThird Wow I just realized this is 7 months old. Lol! I'm way late to the party as they say. But I for one would be quite interested to hear how you would mix this track 7 months worth of learning and experience later. 🤔