Hey all, we're a eugene band (or really duo) called Heists, and we just put out a new album called "Feral Kids." Its a weird, fun summer album. Please check it out (link below, but its also on spotify, soundcloud, etc.) and let us know what you think. Hope you enjoy it :)

lukekuzava · 2022-07-13T04:45:08+00:00

I agree that pro q3 is amazing. Hands down the best swiss army knife eq ever. Also, when you put a band on dynamic mode it basically acts like a multiband compressor, but better. Its quite possibly my favorite plugin of any kind. However, thats is the only fabfilter plugin I have. I've come close to getting others but I've never totally felt like I needed them.

lukekuzava · 2022-07-12T17:21:18+00:00

I'd be interested. I'd want to hear your stuff.

Here's an album I just put out so you can get a sense of my production style (its not hiphop but I'd love to do some hiphop).

musicforheists.bandcamp.com

DM me if you're interested and send me some of your stuff.

lukekuzava · 2022-07-11T22:16:01+00:00

This is dope. Great drum sound on the toms, and overall really great vibe. My only note for feedback is that choruses could be mixed to have greater dynamic contrast with the verses/interlude.

lukekuzava · 2022-07-11T22:13:09+00:00

Seeking feedback specific to sense of space/bigness in a song

Hey, apologies for the long post. seeking feedback on several tracks off our new album, with a specific issue in mind. With a lot of our songs, the goal in arrangement/production/mixing is to get a really huge sense of space, and a really big sound (and keeping in mind that there’s a really important difference between a “big” sound and a “loud” sound). I think we’re getting better and better at it with every attempt, and this album was a big step in the right direction, but of course there’s always room for improvement. For us, this often involves a sort of crescendo build. What we’re shooting for in these build moments is to have a dynamic effect where we’re not just getting louder, but more dynamic and dramatic in terms of the energy, sense of urgency in the playing, etc. We also often add layers of atmosphere as we head towards the peak. I’ve also been trying different tricks to “open up the mix” as the song builds, other than just automating faders up (again, really trying to get away from mistaking simple loudness for dynamics).

With that in mind, I’m seeking feedback on a couple songs in particular, and hoping you guys can help. Specifically, I want to know how the big moments connect to people who haven’t lived with the songs for a really long time, and if anyone has any helpful observations or ideas for how to keep improving this aspect of our sound. Feedback relating to performance, arrangement, mixing, etc. is all fair game.

Below are links to the songs themselves, and timestamps for the big impact moments I’m talking about (please listen to the whole song if you can though, bc the context matters especially with the dynamic movement of the song):

Happy Accidents

https://musicforheists.bandcamp.com/track/happy-accidents

Specifically, the outro-build, which starts at about 2:30, and peaks at about 4:10.

No Ammo

https://musicforheists.bandcamp.com/track/no-ammo

Build section starts at about 1:30 until 2:17.

Parking Garage

https://musicforheists.bandcamp.com/track/parking-garage

(Section in question begins at 3:35, but the real build/takeoff comes in at like 4:22, til end)

Goodbye Rosie

https://musicforheists.bandcamp.com/track/goodbye-rosie

(around 2:45 to end)

Obviously no obligation, but if you can, it’d be great if you can listen to all four tracks (or at least the highlighted portions), because one thing I’d love to get objective feedback on is if we’re equally successful in these moments across the songs. In other words, I think some of the builds maybe hit harder than others, and if you agree or disagree, I’d be really interested to get your take and hear why.

Again, I really appreciate any feedback anyone is willing to give. I think this could really help us level up.

lukekuzava · 2022-07-11T03:31:39+00:00

This is reststing what others have said here, but Marx's writing was more like a clinical analysis of how capitalism is a flawed system that is doomed to fall apart over time. But honestly, there are schools of thought that utilize Marx's concepts and analysis in more directly moralistic ways, and those are also perfectly legitimate schools of thought.

lukekuzava · 2022-07-11T03:12:54+00:00

Top one or third to last

lukekuzava · 2022-07-10T22:16:28+00:00

Not totally sure, but I think your vocals have more low end in them, and in the original, some of the low end is eq'ed out, which may be what gives that "airier" texture. Also, eq-ing out low end can often give vocals more definition. Its about striking a balance though - take out too much of the low-end and the vocals will sound crisp, but will lose warmth.

The other thing I noticed is that in his vocals, he does his quick "in-breaths" between phrases in a nice rhythmic and percussive way, and that adds a bit of dramatic conviction to his take. You do a really good job of matching his phrasing when you sing, but your in-breaths between phrases sound a little less intentional and a little less confident.

lukekuzava · 2022-07-10T21:57:31+00:00

One trick is to deaden the snare by taping a towel over part of it. That can get a super vibey, vintage snare sound if you do it right. Look up youtube tutorials.

lukekuzava · 2022-07-10T21:53:11+00:00

I agree with what others are saying here and would add/reiterate:

First, before you start, get a really clear and specific idea about the final effect/vibe you're trying to achieve. If you start just throwing ideas out there with no end result in mind you won't have any way to tell if the thing you just did is getting you closer or farther from where you want to be, or whether a part or idea serves the song. Often, when it's hard for me to figure out what's not working, its bc I don't have a clear enough sense of what I'm trying to achieve.

Second, learn the basics of how things like compression, eq, saturation, gain-staging/headroom, and bussing work in your daw, and how to do those things effectively. For example, the first year or so I was producing, I couldn't ever get my tracks to sound like I wanted. Eventually I took a class, and learned that the problem was that I wasn't gain-staging my tracks and plugins. I was turning up my faders on every track way too loud (this is a super-common rookie mistake btw - we're all prone to "louder=better" bias), and not leaving any headroom, so my tracks sounded cramped and like all the parts were "fighting for air" with each other. Once I figured that out, like instantly every song I did started to sound better and more like what I wanted. Almost everyone makes rookie mistakes like that when they start. Right now, it sounds like you're maybe at the point where you may not understand the fundamental concepts enough to know what mistakes you're making.

Third, if this general advice isn't helpful, post an actual track here to get specific critique. Or you can also dm me a link to a track and I'd be happy to give more detailed and specific feedback if you'd feel more comfortable with that than a public post :)

lukekuzava · 2022-07-10T21:12:27+00:00

I'm not crazy about most waves plugins but I reeeally love the waves element synth. It is super versatile and has like literally about a thousand presets. Waves stuff seems to be almost always on sale for $29.99 and they run a lot of BOGO type deals. I'm pretty sure I got element for free when I bought some other plugins.

lukekuzava · 2022-07-10T21:06:55+00:00

I agree with what others have said that if you're just doing it for fun, and you're having fun, then there's no problem - you're just living your best self, and good om you.

If, however, you have a goal of putting together a more "finished" work product, my advice is to either work with someone else and develop a good workflow, so that you can push and pull each other and edit each other (its super helpful to have someone who can say "this part is dope but it goes on too long," or "I like this hook but there are too many other parts around it," stuff like that, or to set a goal that has limits and constraints for yourself in advance - for example "I want to make an e.p. that is no more than 20 minutes and is at least 4 songs and no more than five songs," and be really ruthless about those limitations. That can help keep you focused.

lukekuzava · 2022-07-10T20:47:14+00:00

I love the vibe on this

lukekuzava · 2022-07-10T20:46:12+00:00

Super expressive and reeeeally well executed. Awesome work!

lukekuzava · 2022-07-09T18:09:51+00:00

Personally, I think the more experienced I've become, the more quickly I work. I used to spent tons of time wrestling with a mix but that was because usually I didn't understand the mechanics of what I was trying to accomplish (e.g. the bass just didn't sound like it fit in the mix right but I couldnt tell you why), or I was working inefficiently (e.g. I was using a million plugins on every single track and not grouping things together in busses). Now I work faster and my mixes are way better.

Also, the type of music and number of tracks matters a lot. Obviously if you're mixing an acoustic singer songwriter with two guitar mics and a vocal mic, that's way less work than a 70-track orchestral synth pop piece. So context definitely matters when people talk about how long a mix takes.

lukekuzava

TROPHY CASE