whoisp

i do say opening lyric "you can't please everyone" haha i decided to take it in that direction as friends kid was dancing to it or i would have kept it more like the beginning

yeh that's the first chorus where it start to go through the changes "Be Your Own Kind of Beautiful" is all in your individual taste's but i was messing with production technique's to see what work and what doesn't...

another season in PL woop woop

A little delicious mixture...... Be Your Own Kind of Beautiful.....

Here is a simple tips! 1: Make sure your bass is mono. 2: Amp sim or preamp sim or speaker cab or combination 3: If there's mud in your mix clean it up with boosting and carving out space. Lets say you boost bass at 70Hz you would cut other instruments at 70Hz that might be bleeding over and merging with the bass, the kick can also effect it depending playing on or off the kick. Therefore; 4: Side chain your kick can give your bass space or even side chain your bass if its a kinda hook bassline. 5: Depending how you want bass to sit in a mix you can add a tad of reverb to sit it at the back or bring further forward or give it width, if you want to glue it in a tad of saturation and compression. A tip for width or bass in general, n duplicate the bass track stick them on a bass room bus and use panning on the two tracks to sit them where you want in the mix and then go about adding your compression or filters or amp sims to the bus which you can further tweak the eq on tracks and bus. Drum and bass style music or even hiphop, its good to create a drum room bus and a bass room bus which you still can sidechain. NB: there is some fancy filters now which trigger compression on frequencies you want or don't want. Bass and kick frequently occur simultaneously which is usually where the problems are or otherwise some phase or blead from other instruments or even vocals. Hope at least one thing helps P

Fxxking love it

Yeh the intro took some decision of how to introduce the concept, so it sort of merges between instruments that then come together before vocal. Making decisions with direction can change the whole feel be adding or taking away 4bars. Im happy with the finished product, cheers P

Cheers Paul,

Mix and mastering getting lot better Jack. On the music side, take your time with your transitions where you go from one section to the next section , like going from a verse to a chorus, sometimes its good to do a clever transition or a pre-chorus which you nail at about 3:20 with a great run down but when you come back in to sing could have been more slick. I put that ride/crash repeat cymbal back more, out front to much when you start singing at the start which as the affect of swallowing your vocal in the verb at times, i probably would have done a subtle rim tap or cow bell instead of that cymbal. Only my opinion from a music POV is some changes could flow more, from where you go from one section to then a sudden change of sound to another section, sometimes it works sometimes it doesn't. Maybe needed a key change or more of a progression with chords at times to get more range from your vocal. Sometimes its good to step back for couple of days and then go back with fresh ears, we can become entrenched with so much going on and not hear certain things because we sort of desensitise. Good work

Cheers Nio ... music is language haha

Thanx Kevin

Thanx Jesse

much appreciated steve p

Sorry late replay jack been fixing my van, turbo blow, so i had to spend money i didn't have. I mix in cakewalk with mixture of buses but keep some track dedicated direct to master pro channel. I have a template before i start any project. I will use a drum room bus then to pro channel, depending on style i may have the kick direct not on bus. A backing vocal bus to pro channel but main vocal direct. Verb Bus, Delay Bus and sometimes i might us a FX or string bus depending on production I'm doing. Also my "project template" starts with 24 tracks, some midi and some audio so i can just plug guitar in or mic or get a midi drum loop going to jam any idea i have. So i am not messing adding tracks, setting up record levels every-time with my audio interface. I use "mix recall" so i have a mix recall snapshot scene to update for mix levels. I also rename my project every-time i open it each day or after major changes, if i am doing automation etc or trying something. Example, Atom_1_mix Atom_2_Mix until i get to Atom_Final_Mix or Atom_Pre_Master or whatever you want to call it when you bounce it down to stereo to master with the export to studio quality wave which is 16bit Sample 44100 with the 64bit engine with about -6db headroom. Then i import back into cakewalk to my "mastering template" which will have a track already in there to check against for loudness, things like Spotify need to be about 14 LUFS. I also use LEVELS for monitoring levels which is all you need in my opinion for peak, stereo field, Dynamic Range and bass space. I use Sonitus Multiband for mastering, it does the job for the 5 bands after i EQ the track low and high shelf on the cakewalk quad curve EQ any further manipulation i use the pro channel quad curve EQ to get what i want before i do my final gloss. I may add if needed so fresh air plugin to master on mid and high, but be a smigging with added Softube Saturation, bearing in mind i use plugins like saturation also on my mix on some tracks for harmonics glue in a bus. My final gloss is Ozone 9 Elements to polish the eq and the stereo imager if needed. The maximizer which is compression with inelegant t release or attack and sustain etc control, ceiling and threshold working with the -6db headroom to get some emphasis on what vibe i want. I guess everyone does things different and doses depend on what vibe you aiming for but you will always get better and improve you templates and most important, you are conditioning your ears to your headphones or monitors with your settings. hope one thing helps you P

Oh know hope you all ok and get back to some sort of normality soon