ilovefuzz.com

Please take a moment to have a listen to this :

https://www.dropbox.com/s/tkmkmcu6tpj0d ... l.mp3?dl=0

The song actually starts around 0:40. There is no bass guitar yet and this is a rough-ish mix.

I've never really had this problem before, I just play the songs and the impacts are natural and appropriate, but when this particular track kicks in at 0:40, it doesn't feel like a big impact and I'm absolutely stumped as to why. It just feels like it just casually starts off and plays from there.

I tried many things, playing a chords instead of just single strings on the first note of the song, a bunch of cymbal variations, compression, volume automation, is still sounds rather flat.

Anybody can lend their brain matter for a minute? Or maybe it sounds just fine and I'm hallucinating because I've been working on it for too long?

Well it would definitely help if you put some bass guitar on it. It sounds like a band is playing minus a member.

and mix the drums and bass together before laying the guitars on top.

I think maybe you've listened to it to much (maybe? ) because to me, there is plenty of impact when it kicks in.

manymanyhaha wrote:I think maybe you've listened to it to much (maybe? ) because to me, there is plenty of impact when it kicks in.

Same. Sounds great to me!

Bass will make a big difference. If those are fake drums, a bigger/longer decay crash will sound a lot better than that quick decay. You also kill off any chance of impact by having a long count-in. Cutting that out will help. You definitely need to either double or quadruple track the guitar if you want it to sound big.

Also, cut some bass out of the sample and your tones will hit harder. All that liftoff rumble eats up the impact because there is already a big bassy thing that has happened.

whoismarykelly wrote:Bass will make a big difference. If those are fake drums, a bigger/longer decay crash will sound a lot better than that quick decay. You also kill off any chance of impact by having a long count-in. Cutting that out will help. You definitely need to either double or quadruple track the guitar if you want it to sound big.

Also, cut some bass out of the sample and your tones will hit harder. All that liftoff rumble eats up the impact because there is already a big bassy thing that has happened.

Most* of this for sure.

Make the intro significantly quieter than when the band comes in. Bass guitar (or whatever bass-freq instrument you're going to use) will add that bedrock of low frequency that will make it sound like a kick to the chest.

(*personally I find overdubbing guitar after guitar ends up making your guitars sound thinner, because they often end up masking each other, but that's just me. I think the guitar in this demo sounds great, sounds really thick and pops out).

friendship wrote:

whoismarykelly wrote:Bass will make a big difference. If those are fake drums, a bigger/longer decay crash will sound a lot better than that quick decay. You also kill off any chance of impact by having a long count-in. Cutting that out will help. You definitely need to either double or quadruple track the guitar if you want it to sound big.

Also, cut some bass out of the sample and your tones will hit harder. All that liftoff rumble eats up the impact because there is already a big bassy thing that has happened.

Most* of this for sure.

Make the intro significantly quieter than when the band comes in. Bass guitar (or whatever bass-freq instrument you're going to use) will add that bedrock of low frequency that will make it sound like a kick to the chest.

(*personally I find overdubbing guitar after guitar ends up making your guitars sound thinner, because they often end up masking each other, but that's just me. I think the guitar in this demo sounds great, sounds really thick and pops out).

I've NEVER had any case where doubletracking made guitars sound thinner. Thats completely the opposite of what happens. He would have different takes in each side of the mix and that would dramatically widen and thicken the guitar sound.

yeah as I said that is a personal preference. Everyone else loves piling on distorted guitar, so go for it.

whoismarykelly wrote:
I've NEVER had any case where doubletracking made guitars sound thinner. Thats completely the opposite of what happens. He would have different takes in each side of the mix and that would dramatically widen and thicken the guitar sound.

You clearly haven't deal with phasing issues before, and I'm proud of you


For the OP.

I agree on some words above, cymbals decay is too short, let them ring.
And make that sample quieter too, by the time the song is about to kick in, sample is already loud and the "big bang" factor you're looking for is not that "big". Boring/obvious solution but always effective.

tremolo3 wrote:

whoismarykelly wrote:
I've NEVER had any case where doubletracking made guitars sound thinner. Thats completely the opposite of what happens. He would have different takes in each side of the mix and that would dramatically widen and thicken the guitar sound.

You clearly haven't deal with phasing issues before, and I'm proud of you

Well phase alignment and otherwise doing things right should be implied of course. Ideally you just want the slight inconsistencies between performances to be the element that creates depth and character to the recording.

I played the song 4 times from beginning to end on the bridge pickup and stacked two tracks on each side 98%.

I might do 4 more on the neck pickup, pan them the same way and call it done. I never copy tracks except vocals every now and then. When I "add" guitar tracks I play the song again. I'm happy with the tone I get from this rig in general. Phase has never really been an issue for me and I check it often just because I know I should.

As for the rest of the replies here, the hi-hat count will not be there on final and I really like the short crash for the jumpy vibe it provides, however I'm going to try other ones.

The shuttle sample is something I did not even think about. That's a great call, it does occupy a lot of bass that the guitars don't bring when the punch comes in.

I'll start by adding bass guitar and start going back down the replies here trying them all and see if it improves.

My opinion is that the whole thing needs to be louder. I normally listen to music with the volume bar in my car at about 55%, which is reasonably loud. I had to turn up to 75% to get to the same perceived volume.

Add bass guitar, it’s missing dat bottom

Your kick drum sounds puny. You’ve got this high energy, hard hitting song with a kick drum that is barely audible.

Great song though, do you have any more?

That guitar sounds great, I definitely think the issue is the drum mix and lack of bass. In anything heavier the kick needs to be really present in the mix I feel like.

JonnyAngle wrote:My opinion is that the whole thing needs to be louder. I normally listen to music with the volume bar in my car at about 55%, which is reasonably loud. I had to turn up to 75% to get to the same perceived volume.

Mastering will bring the volume up to the level of a typical release. Working mixes are never as loud as a mastered recording.

Circuithead wrote:I played the song 4 times from beginning to end on the bridge pickup and stacked two tracks on each side 98%.

Perhaps your extra takes are played too exactly like the first. It didn't sound doubled to me which is why I suggested that as an option. Tracking doubles with a different guitar might make a bigger difference.

I agree with the above comments! One thing I can add is that I've done this sort of thing before—achieved that big hit/transition—by putting a high pass on the entire mix at the beginning and automating it to turn off right at the moment you want the oomph. The power of the hit can be really emphasized depending on exactly how much high pass you're willing to dial in, but even a more conservative amount will still manage to up the contrast between the two parts. And I agree that bass would help.