mrblitz wrote:harmonically, this is extremely interesting.
overall, it sounded as though perhaps some of the perc could have a wee tad more 'oomph' in the bass freqs, and maybe some of the trebles in the piece could have been 'shelved'. more than anything, that's probably an aspect of my headphones.
anyway, it's as though - if you had a line running left to right - representing the frequency peaks, that the whole thing could be 'tilted' just slightly higher on the (left), and lower on the right (highs).
also, maybe it's just a genre thing?... part of the definition for this genre? 'less pump' and 'more highs'? and of course in any event, each person's mileage will probably vary with respect to the freq mix.
again, it's a fascinating piece, harmonically.
as for FrantzM's asking about what happened to the bass line at the end; maybe taper that off a bit more/longer?
I don't tend to push the bass up in these ElectrProg pieces, and I like the HF clarity that is also fairly prevalent. There is a synth patch on here playing a descending arpeggio which has some PM going on. When I have used it in the past, I have applied a parametric EQ cut at around 1K, but I tried it on here and it "deadened" the effect, so I left it alone. It sounded ok on the monitors and on the phones to my ears, but that might be what you are referring to.
As far as genre goes, I label it "ElectroProg", but I'm not sure where it sits in relation to peoples' expectations in the genre catalogue minefield. I'm not noted for conformist behaviour in either my personal or professional endeavours, so that is to be expected. It's just related to my view of things.
I don't tend to go for "pump" on these instruments as a rule. I use a compressor in my mastering chain, but usually not "in the mix". This track was an exception to that practice. When I originally recorded it over 2 years ago I didn't really understand the importance of levelling or headroom and sometimes I would add a little compression just to add a volume boost to a particular instrument. As part of the re-levelling process for this track, the compressor used on the bass synth that comes in at 2:22 was no longer required. I decided to leave it on the track because I liked the sound, but for colouration only.
In any case, I'm pretty certain that this won't be the final remix of this one, if past and current experiences are any yardstick.
I've had about 5 different endings on this track in the 18 hours I worked on it. Endings seem to be the most elusive piece of the puzzle. I'll need to think about this again.
Thanks very much for listening and for the detailed feedback, mrblitz. Glad you managed to stick with it to the end