Disclaimer: I'm using monitoring headphones so I can't speak to anything in the sub frequencies.
@official9skies
(did you give 3 pieces of feedback to others before posting? ARE THERE NOT RULES?!)
White noise in the intro just sounds like my headphones are broken, why aren't they swept? I hear it in other parts of the songs too, very frustrating. Kill the Noise analogy synth lead in the intro needs some chords underneath it. Foreboding, drone bass note is good though. You need a proper transition to segue into the next part of the arrangement.
During the verse, there are these other vocal one shots that play around the main vocals. You could lose those or really push them to the outside of the stereo image and lower them, they sort of just distract my ears from the main vocal instead of accentuating it. Dig the lead, sounds like its in the harmonic minor. Dig the cheesy 8bit skank chords, could be brought up in the mix a bit.
Would like to see a more dynamic arrangement. Deprive us of some frequencies during the break and build to make the drop more impactful.
The drop sounds very professional, could have heard this on UKF. not my cup of tea but you nailed what you were going for. Bro drums hit nicely. I'd like to hear some rides in between the kick and snare, but that's just me. Trolley Snatcha growl is perfect how it is. Habstrakt whiney lead needs to develop harmonically somehow, I'd suggest simple a parameter or two set to an envelope so the sound moves a bit as a note is held. The parts where the vocal is re-introduced, I'd like to hear the vocal one shots beefed up and the other large elements in the track turned down for that one moment.
Loop at 1:10 with the second mid-bass patch after the growl needs its own section of the arrangement dedicated to it. Give us a break with the Habstrakt whine.
All the drum fills I've heard need work.
Track needs work, but there's definitely some serious potential for a pro sounding track here.
@ Turnpish Thoughts
Just an FYI, I'm no mixing genius, my example track will be evidence to that, but I've listened to the track several times and I'll give you the best feedback I can.
First of all, I'd like to say that I really like the track. I know you asked for mixdown feedback, but if you could find a way to work some human element into the track without being repetitive -quotes, little pitched vocal chops at the end of your musical phrases, single held notes that are faded in and out, I would download the tune and throw it on my ipod now. The quote you have now doesn't really do it for me.
Anyway, the general mix sounds very tight, but IMO you've balanced things so well that almost every part of the arrangement lacks a thesis that says "this is the part of the song where X happens". What's the lead? Where's the sound that I hear that makes me think "oh can't wait to hear that again in another 4 bars"? Almost every element has been boiled down to a supporting role with no lead. The guitar at 2:28 is the best example of this: those four notes take center stage with authority and the rest of the track plays a supporting role. Organ sounds like the the hits have different velocity, I like that. IMO make it into two patches and make the quieter one wetter in reverb. Turn the delay DOWN on the organ. At many points of the track I WANT it to captivate my attention but the delay actually annoys me and lets me know its supposed to be some kind of background element that's just too loud in the mix.
Bass sounds perfect exactly how it is. That little saxophone hit is outstanding, could use MAYBE +1 db. The percs that sound like pitched up snares need to be pushed back more, too loud and too close. My personal opinion on the shakers are that I just don't like the samples, so I can't give good mixing advice on them. The hat/metal percs are PERFECT how they are, love how you nailed that sound. Snare is solid. The delay hit you put on the snare is excellent, but I'd like to see it turned up louder in some choice cases, then cut out the hats to give the delayed snare dominion over the rythmic section for a short period.
The breakdown is my favorite part of the track. The guitar is perfect, pads are good enough where they are. Bump up the harp's volume a bit, but push it farther away with reverb. Bass gets a bit predictable, but that's an composition issue. If this were my song, I'd turn the bass down in the break and build.
Overall, the track is very good and sounds like a finished product. You could get away with releasing it exactly how it is. All the adjustments I've mentioned are just tiny tweaks for volume or bumps up and down in space FX.
@ Kes-Es
Like the ambiance in the fade in. Definitely needs to be pushed farther back in the mix and hidden a bit with reverb etc. I don't think the actual fade in serves as a good intro, I'm not sure if that was a temporary addition just to throw something up on SC. Also the snare doesn't sound right lowpassed like that, especially if the kick is still dry. Kick could really use some velocity adjustment so every hit doesn't sound exactly the same.
Build up doesn't prepare me correctly for the drop.
Main synth sounds like everything turned up to 10 in massive and could use a bit of toning down, especially in the upper frequency ranges. Could use some space fx to push farther away, it sounds like its directly in front of my face. Also appears that the main synth is side chained to the kick, which in this case sort breaks up any flow the loop has rather than adds a rhythmic effect. I would confine my sidechaining to the lower frequencies in this case.
Main loop in the drop could use some kind of call and response. Give me a damn break from that in-your-face sound every 8 or 16 bars!
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