1. What song sections are called can depend, to a degree, on what type of music you're listening to. Standard rock/pop music is usually made up of verses, choruses, maybe a bridge, or perhaps an instrumental solo, an interlude, sometimes a pre-chorus... Classical music has different structures, and different words to describe them.

  2. Thank you for your input. My reason mainly because I record songs & theres like certain parts I do imo incredible then the other parts of the track I’m not as impressed then vice versa on other parts of the same song I did in another recording. If I were to mix my favorite pieces I did that sounded incredible in each of the songs then adding the process of mixing, it should at least end up sound quality vocally, instead of a one take. I never recorded in studio yet I want to but I just been doing song covers repeatedly on one takes, never been able to edit & mix them like in Pro Tools or such. I want to take my singing seriously & feel I have what I need but am such a critic & afraid of the mix final being shit when I think I can do it. Overthinking is unreal

  3. There’s no reason to limit yourself to one take per song. Almost certainly the songs you’re comparing your own songs to did several, if not dozens, of takes, and they comped together the final performance from that. Granted, at the pro level they probably ARE good/consistent enough to sing it the same every time (nearly perfectly), but they’re probably looking at the level of fixing individual syllables or making sure it’s phonetically perfect.

  4. I’m happy to talk with you over Zoom to discuss your project and what it would take to get it where you want it to be. Send me a DM if you’re interested in setting up a time.

  5. Even a good sounding performance will see an improvement when mixed by someone who knows what they’re doing. Also, you might look around too because “Something I’m proud of” doesn’t necessarily have to come from a top tier studio. There are plenty of people at all sorts of price points who could mix your song to a level you’ll be very pleased with, so you’ll likely be able to find someone within your budget who can do better than what you’re able to.

  6. As was mentioned, if you’re normalizing each item after you’ve cut them up, you are turning up each item by a different amount. If you want to normalize, do it before you cut it up so everything is turned up evenly. Compression is what will smooth it out volume wise.

  7. Are you currently getting paid to play live? I wouldn't necessarily dive into it full time if you haven't had some sort of financial proof that you can get paid. I suspect you have, based on your descriptions, but it's still something to think about.

  8. I came up with a bunch of instrumental/riff ideas in college. I wrote words for some of them, but they were, objectively, terrible. It was whatever I had come up with at the time for helping me come up with the melody, and they were trying to be fancy or important or meaningful, and they just sucked. I liked the riffs though, so occasionally over the past 15 years I'd play them and try to come up with something. Never happened.

  9. Does it sound thin while you're recording it, or just in the mix? I think uploading/linking an example would be most helpful. "It sounds like a telephone in a dingy room" is a very creative way to describe your problem, but I don't know that what we imagine when hearing that is the same thing that you're trying to describe. Concrete examples will yield better advice.

  10. To improve your mixes, you need to learn what makes a mix sound good. The answer to that, at least for beginners, is to make sure you can hear all the instruments, and make it balance well. The difficult thing about answering that is that there are about 1,000 different ways to accomplish it. It’s similar to asking “How do I make my paintings look good?”

  11. I also do one-on-one Zoom coaching, and I use Reaper as well. I’m happy to chat with you about how I could help if you’re still looking for someone!

  12. All of those are valid concerns. I haven’t done that particular type of setup, but things I think of off the cuff are 1) are you charging for this space? If so, are you set up properly as a business with your city/county/state? How to do that varies wildly by location, so talk to a lawyer and or CPA to make sure you’re above board there. 2) Do you have insurance? You’ll most certainly want some sort of insurance policy. Speaking of which, if it’s at your house, you may want to set up as an LLC to protect your home from any of the aforementioned possibilities. That’s probably another one for the CPA and/or an insurance salesman. For liability issues, your lawyer will inform you of that.

  13. A couple of general quick pointers: First, as was mentioned before, your room is probably your biggest bottleneck as far as impacting your mixing ability. Acoustically bad rooms might emphasize or mask certain frequencies, so even though it sounds great in your own room, whatever you did to compensate for those weaknesses make it sound weird other places. A similar thing happens with headphones, which is why it’s better to have ones designed for audio work (they have a flatter, more predictable response).

  14. You can also just use the speakers to monitor. When you’re artist is recording, you don’t NEED to hear as they do, do you? I usually give the artists headphones and the turn up my monitors just loud enough to basically know where they are in the song. You can boost the volume in between takes if you need to check something. You could play with mic placement / blocking the mic from the speakers somehow too, but I’ve never had so much “bleed” that it was a problem in the final mix.

  15. Thing is in my current room setup (yes room as in bedroom), my microphone is right next to my speakers. Might try moving it around and do what you mentioned, since i did not think of that. But usually when my friends come over and we record im trying to on the spot figure out what to tweak on the vocal chain, while they are doing warmups or whatnot. For that reaason hearing everything well, like using headphones, really helps. So basically im not that worried about "bleed" but the feedback from the monitors into the mic, which start that god awful ringing and screaming sound.

  16. I hear you. Another option (assuming you’re not buying the headphone amp thing, which I considered heavily when I was still recording in my last, tiny place) is to borrow the headphones while they warm up and have them sing a little bit. Maybe keep the speakers up enough for them to sing along to while you adjust.

  17. I think this community can sometimes be too harsh with new players who are genuinely confused about how to find the information they're looking for. There is a difference between someone struggling with where to find the relevant information and someone not even trying, and I often get the sense that people in the former category can be put off by the common refrain here, which is "RTFM" (read the manual). I definitely think we can do better about helping these people understand how the manuals work and being more understanding and encouraging about the overwhelm that is hundreds of pages of highly technical information. I started playing Allied Force almost 20 years ago, and I love reading through everything, but there is a lot of details I don't know all that well because it isn't "necessary" to have a fun experience in the sim. I think that's where people have trouble--knowing which information they NEED to know right now, as opposed to what might help them get better later, but it's not the absolute basics. That's my critique of the BMS community, and I don't even mean it as a scathing one, more just an observation of something I think would be nice if it were a little different.

  18. I'm sure if you post on here you'll get plenty of replies. I, coincidentally, would be able to help you with that myself! :) I'll send you a message with more details.

  19. I can help with that! I’ll send you a message with my portfolio.

  20. I think this is all good advice, but I didn't see anyone mention something I think is very important in mixing: You are mixing a song, not individual instruments. It literally does not matter what each instrument sounds like on its own, because it will always be heard in the context of the mix. You're probably really good at mixing a solo piano, and if you had just that instrument, you might have a good final product. But in your mix, you only have so much sonic space. That full sounding piano will definitely step on the toes of a bass guitar, and maybe get in the way of an electric guitar or whatever.

  21. Perhaps so, but there’s just something so innate about the way good melodies flow through different sections of a song, and good production enhances that progression, it doesn’t really create it (IMHO). I’ve proven to myself on numerous occasions that if I play the same four chords on guitar at a constant dynamic level and just attempt to sing a good song all the way through, I’ll feel that same sense of progression as well. And even though I’m very in touch with this feeling, I don’t know how to recreate it well. Contrast is definitely part of it— I just don’t understand how deliberate you have to be about it. It needs to feel natural…

  22. My initial thought while listening through was that it's very close, just a little bit off here and there. I think the vocals were a TAD low compared to the instruments, though I might opt to bring everything else down slightly and keep the vocals where they are. I think the drums struck me as a dB or three too high when they came in, though I love the sound of them. I love your radar ping sounding guitar or whatever that is. Fits really well.

  23. Here’s an amazing video showing you the (a) process of how to teach and learn improvising. Its also a fantastic young musician with a great relationship with her father. A+ all around.

  24. Break it down into different topics. “Production” doesn’t really tell me what you’re going to be teaching, since there are so many things that word could be talking about. Be as specific as you can when making your topics: Mixing process, EQ, compression, vocals, guitars, drums, making/programming drum loops, HOW TO WORK IN WHATEVER DAW YOU USE, how not to type with caps lock on without realizing it, etc.

  25. Also, are these pre made loops? If you’re using something like MT Power drum kit, or any other VST I’m sure, you can adjust all that inside the plug in.

  26. You could also go through and adjust the beginning/ending of your hour long sections so that the changeover points are in a less-intrusive spot of the audio. So like the first part goes 59 minutes and 32 seconds because that's when nothing important is happening in audio.

  27. personally i feel as it rarely breaths, its always going somewhere but it never relaxed

  28. I found a specific spot that maybe will help expand on this (very good) comment. I like the idea of letting your melody breathe. After the second ending, your melody slows down, going from mostly quarter notes to mostly dotted half notes, which was wonderful.

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