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Aesaire53 days ago(+1)

Cool combination of sounds and textures- Vocals, pianos, reverse pianos, ambience, (harpsichord or some sort of bell like synth?), enveloped by a lush reverb.

One thing I noticed about your mix was most of the audio was that the main elements in occupying the high end was the harpsichord and ambient noises, which gave the made the track a bit unnaturally dark (as in not much high frequencies) for sections where they were not present. If that's what you were going for, then leave it as it is, but if not  using an EQ high shelf to boost your high end frequencies by at around 4.5k Hz region would make the track sound more natural.

Composition wise the soundtrack was well written. Mist and Nails had a good patient, mysterious tension to it. One Friendly Intruder was awesomefor a boss fight, the quicker tempo and cascading piano notes made it feel like a escalating conflict. Well done on creating an engaging soundtrack.

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~ jon patch ~53 days ago(+2)

Honestly, I like that darker sound, puts it on the realm of ambient music, very soft for the ears. Still very cool of you giving concrete production advice, for anyone reading. 


I'll add that, if you want to sort the high end, you can also go the substractive route and carefully cut high end from most/all instruments rather than boosting some - if you are trying to achieve a soft soothing sound like in ambient music, or if you want very subtle activity in the highs with hi hats and stuff. In that type of mix you might want to use peak/bell EQ for any highs boosting rather than shelves.

Of course, if you cut highs everywhere, you have to be very careful about low-cutting and mid-range EQ, otherwise you can get some serious mud and the whole thing can blow up speakers. Also be careful to not cut too much - you can play with filter slopes to let out the tiniest bit of high end to preserve some presence.

My 5 cents on mixing highs. Please feel free to OWN me in a reply if anything I said is not good, or to complement with more info. I want to improve as producer.

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Aesaire53 days ago(+2)
I'll add that, if you want to sort the high end, you can also go the substractive route and carefully cut high end from most/all instruments rather than boosting some - if you are trying to achieve a soft soothing sound like in ambient music, or if you want very subtle activity in the highs with hi hats and stuff. In that type of mix you might want to use peak/bell EQ for any highs boosting rather than shelves.

Yes this would also work. grapdefluid, if you follow this quoted approach, then your whole track will sound more consistently dark, and the mix will be a lot more cohesive.

Of course, if you cut highs everywhere, you have to be very careful about low-cutting and mid-range EQ, otherwise you can get some serious mud and the whole thing can blow up speakers. Also be careful to not cut too much - you can play with filter slopes to let out the tiniest bit of high end to preserve some presence.

I'm not too sure about the blowing up of speakers so I won't speak on that. As for midrange mud, yes you have to be a careful about this, sometimes people put too many musical notes and sounds in the bass and midrange when making already dark tracks.

Good advice ~ jon patch ~!


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grapefluid53 days ago(+1)

Thank you both so much for the crits! Honestly, cutting frequencies is probably something I do the least when mixing simply because it doesn't cross my mind, so it's great to hear these suggestions from you guys. (o゜▽゜)o☆

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