This is my epic symphonic rock song called 'The Germ Of A Belief Net'. I would love any feedback or critique, and thank you!
Thanks for listening and commenting, Tom! I'm glad you liked the choirs! :D I would be really interested to know which of the melodies sounded funny at first? I think I might have a guess but I'm excited to know.Awesome. I like the overall style here. That choir sounds lovely. I like the alternating rhythms you have here with the 6/8 time signature (or 3/4?) - makes me think of a round.
There were a couple brief melodies that sounded a little funny to me but they've grown on me a bit by the second listen.
When it comes to high gain guitars, I prefer to double track them and have each track hard panned (just out of habit). However, I think in this case, it was a wise choice that you have one guitar predominately in the right channel with an occasional guitar coming in on the left channel for emphasis (because there's so much going on already - 2 guitars playing the entire time might muddy things up).
I dig it.
I didn't use one actually, but when I'm mixing I'm usually aiming for a kind of mix between Blind Guardian, Brymir, Dimmu Borgir, Tool, Flaw, and Disturbed. Definitely some nu-metal and power metal and black metal-y stuff going into it.What would your reference tracks be for this ?
It was specifically 1:01 - 1:07; especially that triplet transition in 1:06 - 1:07. That was unexpected.I would be really interested to know which of the melodies sounded funny at first?
Ah. I think I know what it was.I think your thoughts on the mix were very interesting because there are double tracked guitars hard panned left and right. Haha! You might have been hearing the lead guitar fills that I stuck in here and there, and those were panned at 30 Left/Right (if I remember right).
Ahhh interesting! That's not what I expected! :D I'm not really sure what I was going for. I guess I would say "epic" and "imminent", "pressing", "imperative". I think, specifically, at that 1:01-1:07 area, I wanted it to open up and grab attention. If I could put it into language, the first 61 seconds are the coming of a thing, 62-68 are its arrival. I'm glad it grew on you, though! I'd ask you a question but I don't want to make you have to listen again, and I may have already possibly conditioned any response, but what emotions does 1:01-1:07 cause you to feel or think of? Or, if you had to imagine something, a scene or something, what does 1:01-1:07 conjure up? Don't feel obligated to answer but it's just I always know the music has some kind of attribution, emotional or psychological or whathaveyou, but sometimes it's hard for me to gauge what it is exactly lol. So, while it may "open up", like in 1:01-1:07, I also have a hard time linking it to an obvious emotion or atmosphere. Like, growing wings and flying off a mountain or something? What emotion is that? Lol. Maybe it's like you said, some form of uplifting.It was specifically 1:01 - 1:07; especially that triplet transition in 1:06 - 1:07. That was unexpected.
At first listen, I wasn't sure what mood you were going for, harmonically speaking. Uplifting (open/major tonalities)? Determined, serious, dark (minor tonality)? Dark but especially anxious/intense (diminished)? At first listen, it seemed sort of neutral and atmospherically ambiguous. At second listen, it had grown on me.
Ahh I completely understand what you mean. Listening now and I agree the right guitar is much more prominent. I'd chalk it up to an EQ problem, but it does give some space for the violins to live on the left (I'll take whatever I can get!! lol). In this mix I bussed both left and right guitars together and processed EQ there, as well as on busses for all of the orchestral instruments (such as long strings, short strings, long brass, etc). This worked, but I also manage spatial width and position using Waves S1. So, there are EQ inefficiencies by processing both left and right instruments' EQ together, when an instrument on the right would never actually mask an instrument on the left. Your comment actually sparked this whole chain of thought in my mind, and I will process EQ for left guitars and instruments separately from right guitars and instruments on the next track. Ongoing learning and experimentation :D Thanks for taking the time to provide such great feedback, man!Ah. I think I know what it was.
The first couple of times I listened to it, it was on my itty-bitty iPod earpods (which isn't as defined as my headphones). While I now hear that rhythm guitar in the left channel, I initially thought that it was one guitar (on the right channel) with reverb pushed to the left to fill out the space. Listening on my headphones, I think the right guitar is just very prominent whereas the strings are taking the focus on the left channel. While I hear the lower "chug-chug" from the palm mutes, the guitar on the left channel doesn't seem as defined or nearly as noticeable as the guitar on the right. Still! It works in the mix.