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Joined: Apr 2009
Posts: 10,941
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I think, personally, either mix would be a good one. Unlike the song we worked on together which was very similar, there is a WIDE disparity between these 2 versions. Choosing which one will come down more to a matter of taste. Do you prefer the 50's retro sound or the smooth sexy sound.
Mix A: this has a dated 50's sound. However the groove is good. The feel "fits like a glove". IMHO, the vocals could come up a bit overall because I think they are a few dB low in the mix. I thought the bgvh were a bit loud but I think that you like it that way. As Floyd pointed out, that was par for the course in the 50's and 60's style music this represents. the guitar solo needs to be lowered significantly. It's a good solo and fits well, but it's too loud in relation to the mix. Pay attention to the transitions. for example, at the end of the guitar solo, the singer and solo are happening at the same time. That's not good. They're stepping on each other. The listener is processing the ending to the solo which is expected at that point, and suddenly, before they are expecting it, the singer starts and they miss that magic that should be there. Edit the guitar solo so that it clearly is ended BEFORE the singer hits her first notes. Make those transitions clean and clear. A few seconds of break between the parts is ideal. With a definite ending and a break there's the expectation that the singer should be coming in...and there she is...right on time as expected. Details matter. I would edit the solo to stop on the high note before she comes in..... edit or envelope the notes after the high one and it works well. The problem in that edit is ending the note properly. Cut short, it sounds like a bad edit.... that's where it takes creativity and thought to end it so it sounds natural. I usually go hunting for that same note near the end of the song and copy/paste it in for the edit.... sometimes it works and sometimes it doesn't. Also a re-render of the track will produce DIFFERENT notes..... my solo on The Best Christmas is comped from 5 renderings of the same track. All depends on how much work you're willing to do to get it "right".
Mix A needs some simple fixes, mostly related to levels and perhaps a bit of EQ to brighten the vox at the very beginning of the song and some judicious editing or envelopes. The vox sound a bit muffled when she starts singing.... but seems to clear up as the song moves along.
Mix B: I don't like the groove or the feel of this one. The bass (especially) and drums made this version too busy for the soft smooth sexy feeling this song should have. I would spend some time trying other bass parts to find one that fits the feel and still maintains a sweet groove for this song. I currently think the bass part and to some degree, the drums are the main issues with this version. vocals are well done. good eq, nice levels for the lead and the bgvh. These are the best part of this mix. nice guitar tone on the lead/solo and the fills. Keep this guitar tone into the final mix. The clean phased guitar is cool but I think I might would lower it a bit...a few dB at most. AND....look at using a string pad or a nice sampled string section with cello's, violins, etc. Doing that, I feel, would free you to use the clean guitar more like spice as opposed the main ingredient. This version would really benefit from a sweet string section rendered from a high quality sampled VST.
Personal opinion: I would favor the B mix simply due to it's NOT having a 50's groove. That said, it's also the version that needs the biggest re-working to get where it should be. If time is an issue, the A mix is the closest to being ready to go with a few minor tweeks to levels and EQ as I already mentioned above.
Good song.
Last edited by Guitarhacker; 06/02/15 02:02 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
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Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
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Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
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- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
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- Instrumental Studies 25 - Soul Jazz Guitar Soloing
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