[Jeremy Roye]

Ew! Timely! I was wondering the same thing after listening to your (excellent) Ari podcast interview.

Your video was comforting as I’m a reference-fanatic.

For those like me that don’t have a phancy console set up, I drop my references in every Ableton session and have a solo hot key (1 for the modern pop track, 2 for the warm indie vibe, 3 for Beatles cuz Beatles) for each one so I can quickly compare vibes and even move around the instrumental or vocal sections where they line up accordingly for a little more focus.

Thanks for making this, Dana!

Very interested in this topic!

Jeremy

[Jeremy Roye]

Hey Jesse,

I thought the whistle sounded great, first of all. It’s relevant for me as I’m mixing a whistle track and have been A/Bing with PBJ’s Young Folks. I never realized how crazy loud they’re whistle is and how it definitely has some resonant frequencies that bother my ears. Yet, that didn’t stop them from becoming a mega hit.

Your whistle however is very gentle and quite pleasing and ethereal and fits great with those haunting chords. Really enjoy the visual pairing as well!

Lovely work,

Jeremy

[Jeremy Roye]

Vibey track! Real tasty.

Man, I can’t add much of anything to this thread that hasn’t already been said. I enjoy Alex’s phatter kick though I miss a little bit of the energy of the original mix/master – the rest of the instrumental felt perhaps quieter.

Happy to hear more vocals.

The Rhodes pan does make me seasick in headphones so would ask to tame that per Dana’s notes.

Can’t wait to hear the next iteration!

Thanks for sharing!

[Jeremy Roye]

Yeah! love hearing this new cut, Stu!

I enjoyed all the stank you put on the variety of sounds. :0

Curious if the kick could slap a smidge more though really like the thudiness of it.

:49 – this transition felt a bit off to me, like maybe not everything hit right on the 1 beat. Might nudge something in there.

Snare felt a little hot (maybe the 3k-10k range) in my Sony 7508’s headies.

Otherwise, mix levels are sounding nice to me!

[Jeremy Roye]

Sorry I’m so late to the party!

Very beautiful track. And, as Dana said, very unique… I think generally speaking too.

Everything sounds great to my ears. The only note I had was the voice felt a little hot and crispy in my headphones. Not sure if it’s just a volume thing or a 5k-10k shelf thing. I might throw reverb on the vocal in the last section just to differentiate. Just a production thought.

I’d ship it from there and make a whole album of this stuff for us if you don’t mind. 🙂

[Jeremy Roye]

Dope track and video, Jesse! Definitely a trip as Paul said. Sounds really sync-friendly to me alongside Dana’s Paul Rudd remark.

[Jeremy Roye]

Thanks for the solution and video, Dana!

Looks legit.

Seems like the free version is only mono so bueno there though I will definitely subscribe if I don’t find a free alternative in the meantime.

[Jeremy Roye]

Thanks everyone @dana @detective @JLEW for the feedback and kind words. Really appreciate you listening and your notes. All great tips and validation about many of my feelings.

We feel like it’s an impactful song too and therefore super anxious about the mix – wanting to do it justice. @Nate is my co-producer so gotta shout him out for his incredible work!

• This reply was modified 1 year, 1 month ago by  Jeremy Roye.

[Jeremy Roye]

Wow, Dana!

Amazing. How generous of you to share your thoughts and further mentor us all in the process on a video! What an honor.

Thank you so much for the kind words, means the world. 🤯 Gotta shout out my co-producer @nate in the group as well! I would love to hear the mastered version SW-DN! And a blog post sounds rad.

It’s super helpful to learn more about mastering for mix listening and makes all the sense to line up and exclusive solo back and forth for proper listening. Love it!

Your producer notes were spot on for me and I was totally picking up what you threw down. I think that’s a great pop instinct and I’ll give it a whirl, especially if I can overcome my mixer anxieties! ha. Especially the A-part chorus-3 fly over after the drop. Curious to hear the A-melody under the C-melody as well! Might be giving too much to the listener <i style=”background-color: var(–bb-content-background-color); font-family: inherit; font-size: inherit; color: var(–bb-body-text-color);”>and I bet it’s sweet as candy.

I totally agree with all of the mix notes and am wanting to pull bits from C to SW (more bass, vocals, a bit of clarity). I’ll ask for vocal up/down (1.5-2db) revisions. My biggest question with the SW mix, which I definitely *feel* more, is that it sounds a bit washy, I believe from SW using (or over-using?) mix bus processing and some widener. Which my mastering guy says one shouldn’t really do as it makes it harder to master, reduces dynamic, and makes everything sound upfront or lacking depth. 🧐

Do you hear that at all or have thoughts about that process?

Ps: Nice lightning-fast Dad-retort to your daughter in the video. ha! Gotta be ready!

Many many thanks,

Jeremy

[Jeremy Roye]

Hi Dana!

Been marinating and remixing based these notes and really finding it so darn meaningful to hear those kind words to this song which means so much to me. Thank you! (ps: those bgv’s were arranged once again by the great @Nate.)

The kick is too clicky! I agree. I never noticed but I felt it. And now I can’t unhear it. (ps: I finally got Reference 2 thanks to your suggestion on our call and it finding it helpful to really hear the difference quickly between my mix and references which I use heavily).

I’ll sprinkle some more verb and echo on the vocal as well! Can you make a plug in called Fairy Dust so I can do this more easily? Is that what you use for widening primarily, verb and echo? Is sounding more expensive also essential boosting the 10k and up air stuff, for you?

As for the pump, I was really leaning into Odesza at the time of production and sidechaining the heck out of the bass. I want a bigger mix! But not sure I can unpump the pump from my stems. ha.

Either way, I’ll have another mix soon with hopefully enough fairy dust and round kick flavors.

Thanks as always for the notes and the support!

Jeremy

[Jeremy Roye]

Thanks, so much, Jesse! I really appreciate the kind words. As for the kick… I hear it now thanks to you and Dana, it’s a bit over-smacked. It’s also out of tune I noticed so I might replace or tune and round off the high end like you suggested. I’m working on it and will report back with a new mix soon! Thanks again!

[Jeremy Roye]

Respect, thank you Paul! Well said.

[Jeremy Roye]

Haha, thanks Paul!

Yeah, all about that One Love since watching the new Bob Marley flick! haha.

I appreciate the encouragement and POV. I’m not sure the telephonic style was intentional (it was really desperately trying to DS a vocal with a huge printed verb). But it seems folks like the vibe so I feel more confident to roll with the effect and not sweat that it doesn’t sound like a full U47 vocal or something.

I’ll check out SoundID. Interesting! I could likely use this quite badly considering my studio space is very untreated and I love headphones.

Many thanks again for your time and ears!

Jeremy

[Jeremy Roye]

Thanks so much, Dana! gives me confidence and helps tame my mix anxieties. haha.

If you have a good side eye gif I can text next time I hear “headphones are the devil” that would be great! haha.

Hugely appreciated as always!

Jeremy

[Jeremy Roye]

Ah, thanks Alex! Appreciate that, man. Nice to hang today on the call and looking forward to hearing your work.