Thank you both for reviewing, i appreciate it!It really helps a ton to get some detailed hints from a listener who didn't listen to bars 42-54 solo'ed on the third lead synth and second bass for an hour.
Let me just quote and reply to the points where something comes to my mind.
FermataWordplA wrote:Your samples are grabbing background noise, Twilight's magic and such, very noticeably. I doubt that's what you had in mind. Now I can't tell you how to fix that, as I don't know how to do sample work myself. At the very least you can use some EQ cuts to nullify some of that noise. In general they could be mixed into the track better, since they stand out a bit. Less volume and some reverb, I think.
This is a tough problem, and we have it with almost every MLP vocal track. I already tried to down-EQ the magic on Rarity's part ("Flag of many hues", 0:36) and it became VERY thin. I'm also not too experienced in cleaning samples, but next time i'll dedicate more time to it when sampling. I guess it will boil down to a hell of a lot of notch filters.
FermataWordplA wrote:The snares are a bit dry. Try stacking on some extra snare samples or giving it some EQ cuts.
It is a noise snare i made from scratch and while producing, I actually liked the compact and utilitarian sound. This song has ten tracks of Bass, Lead and Pad going and i felt it complemented the complexity. But it's good to know that this can also stand out to others as flat
vaceslav wrote:Welcome to MLR.
Be sure to
introduce yourself.
Thank you, i will do that later today!
vaceslav wrote:The reverse crash at the very start needs to not cut out so suddenly, either play it again in the regular direction, or put a butt tonne of reverb on it.
Oh yeah, i must have missed that. In an earlier stage the intro had more boom and it completely masked the crash disappearing. When i toned it down later i probably had gotten too used to it. I must teach my girlfriend to notice these things and tell me
vaceslav wrote:The high strings you're using as a pad is cool too, but it might be cooler if it was playing chords instead of single notes, hard to say without hearing it. The attack could be maybe a tad faster, but again, without hearing it in action... It might sound better as it is.
Sounds good on paper, and i just tried that. These pads play alternate G4/E4 and G5/E5. Adding a third to every note makes it rounder, but when adding the fifth, the whole instrument gets shrill and dissonant. I'm not entirely sure why that happens, but it is interesting.
vaceslav wrote:The plucked string sound that comes in at 0:33, is it an E Guitar sample or a harpsichord? Either way it sounds really nice. Actually I'm digging the whole sampled-instrument-remix this has going. I mean synths are great and all, but sometimes I'd prefer some pianos and guitars.
Agreed! It's actually Ableton's synthesizer for all kinds of stringed instruments called "Tension", playing a guitar patch i created myself.
It does sound amazingly real though.