03-28-2013 06:49 AM
Hey guys i wrote a soundtrack composition inspired by the new Tomb Raider game and i would love your input on the mix.
04-03-2013 09:32 AM
Well i wanted the people to actually hear the track . . in real gameplay the music would play much quieter.
But it's funny alot of people said the drums should stick out more
But thanks for your feedback !
04-05-2013 07:24 AM
I took a quick listen to a few of the tracks. You weren't specific about which one. I did notice allot of latency between the video and music. You really need to time shift those to get the visual in sync with the music. As it is it looks like you're lip syncing the parts vs. actually playing them live.
The composition is good and the recording quality isn't bad. My question would be was it mixed with quality recording monitors. If not it would explain the audio quality. If you're using something like computer monitors, the mix will only sound good on that playback system because the monitors don't give you a true frequency response. If there's a dip in frequencies, you wind up over emphasizing those frequencies, if there's a bump, you don't add enough.
To me it sounds like the midrange and lows are off which could easily be the result of monitors that push too much mids when mixing. It would account for the lack of presence of the instruments that should be out front. Or the issue may be the mixing program, file compression or listening environment. There's allot of possible factors involved. What I'd do is download a plugin like Voxengo span and analyze the frequency response and compare it to other commercial recordings of similar genre, then attempt to match the mixes. You learn allot by copying others works in A/B comparisons.
My guess is you have good tracks and performances recorded. You just need to frequency balance them professionally. I'd also try using a good limiter or multiband on the stereo audio mixdown and get some power into the music. A multiband limiter will even up the frequency responses and get things like the bass and drums up front. You will likely remix several times in the process, but light limiting might be all you need.
04-09-2013 05:23 AM
04-10-2013 05:05 AM
Can't mix properly on headphones no matter how good they are. Reason being there is no space between your ears and the diaphragms so your mixes will lack proper three dimensionality. You get lucky on occasion but in most cases the mix can be much better when mixed on studio monitors. I know this first hand because I mixed with them for a good 10 years when I had small kids living in an apartment and had no other options or the extra cash to buy quality monitors back then. I'd get maybe 1 out of 10 mixes sounding close but all could be better. Even a low end set for $100 do wonders.
Some of the things that occur are low frequencies pass through the air at different speed than high frequencies. Its a Doppler effect you don't get using headphones so you wind up adjusting the attack of highs and lows on headphones to reach the ear drum at the same time. When played back on normal speakers there's a shift in the transient response of the woofer and tweeters that you naturally compensate for mixing on monitors. Other things like time based effects, reverbs, chorus and echo are also extremely difficult to properly adjust because there's no space between your ears and the sound source so your perspective of aural distance and resonance can be wildly out of proportion and you'll never know it until you play it back on a good sound system.
Gain staging and ear fatigue are other key items. Headphones are often highly sensitive to soft sounds that may cause the listener to improperly adjust the power levels of the tracks. You wind up relying on meters to make decisions instead of your ears. Speakers coils consume a certain amount of the signal just to get the diaphragm moving air. What sounds very detailed with headphones winds up sounding wimpy through speakers because the ears have no air between them and the sound source to act as a shock absorber. The person mixing with bones will wind up using more compression to reduce transients vs. allowing the attack to remain and letting the transient be tamed by the speaker cones inertia. In other words, speakers have a natural ability to compress a signal due to the weight of the paper. Low frequencies will get a woofer moving more slowly and the cone is slower to come to rest because of the cones mass. Initial transients need to be larger if you want a fast attack.
There's more too it as well. Ears quickly become fatigued using headphones. 1/2 hour will kill the ears sensitivity as their natural defensive system against sharp sounds kicks in. In comparison you can go maybe three hours using speakers at a nominal 85db mixing environment before your frequency and loudness perception becomes skewed.
There is also the room acoustics that's a huge factor. When a guitarist dials up his amp to play live he adjusts his sound for room acoustics and reflection as part of his sound. When you mic an amp or record direct none or little of that exists. When playing back through monitors the mixer will add those frequency and ambiance to the mix in a way that gets the air in the room to move, the same way as it would with live players performing which is the magic key to any good mix.
Up close to nearfields will have a very direct image and a stereo field that is highly three dimensional.
If you get up and walk around you can hear the reflected sound and how the music carries over longer distance. I often crank a mix up that's near completion and listen to it from the next room to hear how the sounds carry.
In conclusion, you use what you have and you upgrade as you can. You'll have to learn every trick in the book using heaphones only. Its a pain in the ass doing a mixdown, listening to the mix on playback systems in a car or a hi fi system then guessing what changes you have to make, then going back to the mix and guesstimating what those changes should be. Its so much easier to do it in real time through monitors.
The only advice I can give is to run a frequency analyzer and do A/B comparisons to a commercial track imported into the mix and try and match the responses track by track and getting the overall frequency curve similar. This can get you close but its going to fail too. You may get close close to the commercial track but your own tracks will have unique characteristics. You inevitably wind up overemphasized bad frequencies and cutting good ones instead of utilizing the best tones captured on the tracks, but you do learn allot in the process and hone your tracking and mixing abilities when doing this.
04-11-2013 05:23 AM
That's alot to take in, i just don't have alot of money to spend on all of this (musicians are always poor) so i got my 1500$ dollar headphones so i can also work at night and an eleven rack interface which also costed me alot, i didn't know all the things you mentioned and obviously you sound like a professional but i see all the studios use monitors rather then headphones so it's obviously more accurate, i'm just a poor musician who mixes and records music in his living room so it's not really "Acoustic Friendly" too, so i understand the downsides but i just don't see what i can do about it atm . .
But thank you for your posts !
04-18-2013 05:25 AM
04-19-2013 09:11 PM
It's like the soundtrack to "Survivor". I'd try to be more consistent with the ideas if you want to make it stand alone. Maybe establish a more solid groove and stick with it. Good drum work.
04-20-2013 12:08 PM
Its a demonstration to my soundtrackin abilites thus making it more "groovy" would be taking the player attention and that's not good, so i tried to maintain balance as i could . .
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