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Your Heart


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Condition of the heart.
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Uploaded: Aug 25, 2017 - 01:46:18 PM
Last Updated: Aug 25, 2017 - 01:53:20 PM Last Played: Sep 12, 2017 - 08:40:06 AM
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Comments
Daugrin said 82 days ago (August 28th, 2017)
Rhythm Review!
The mix on this should be tighter, more balanced. How to do that?
Easier to show that then to explain how to do it lol, but the idea is that there is only one half a DB between any component, under nominal conditions. Mix the rhythm section until changing any component by the magic .5db makes the mix lopsided, do this long enough and you will begin to hear the mix as an envelope, or air in a space. Again, this is a much easier thing to demonstrate than to explain.
Once the rhythm section is balanced start on the guitar and vocals using the same criteria. Riding faders or using attenuation and panning will help you keep the things that are suppose to "pop" in the mix where they need to be, and allow for the .5db balance magic.
Looking forward to your next outing! Mixing is the most difficult aspect of digital music production, don't be discouraged by my mouthing off, if the music had not been outstanding I never would have lamented the mix... :) Take your time and balance, the more component parts and instruments, the more work, here the musical content is worth the effort.
Best of luck.

Daug
Check out my latest song called TCYB/U Got No Mind
MikeRobinson said 68 days ago (September 12th, 2017)
Mix comments ...
Following up on the same thought:   the lead vocal should always lead, and right now the vocal doesn’t do that.   The drums are loudest.   Also, the vocalist should be EQ’d so that the strongest frequencies (“key to your heart” there at the very end, e.g.) are emphasized ... so that the slight “edge” that a voice naturally has when sounding those notes will come through.   We want to feel his emotion when he is singing to his Lord.

I would also bring up the accompaniment track to be closer in volume to that of the drum, and then use “ducking” so that this accompaniment never competes with the singer.   When the vocal rises in volume, the accompaniment is automatically reduced so that the singer comes out on top when he is singing, and the accompaniment fills the space between.   Very slight “riding the faders” can also bring-up the accompaniment when it is taking a solo, then letting it drift down again in preparation for the next verse ... imagine the musicians stepping closer to a single mike (as bluegrass musicians often do), then stepping away again.

There will be several frequency bands which each instrument naturally features, and you can use EQ to carve “slots” for these so that the instruments don’t collide in the shared space.   Notice where these bands lie and be sure that bass, tenor, alto and soprano are all well-represented in the arrangement and without stepping on each other.

This is a very good song that will benefit from a re-mix.
Check out my latest song called Young Men, White Gloves
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