Please continue to do mix critiques ! Some of the best content. I’d love to submit a mix of mine for feedback but I’m just now discovering the channel🥲🤣

Ha Ha

Yeah I absolutely love Glenn and specter sound but when I did a mix review with him he was clearly in a bad mood to begin with, read the name of the band wrong, Then proceed to say oh who cares anyway. He then said to watch his videos to get a better mix with no actual direction whatsoever. This was a couple years ago when I really could have used some actual advice. And I stupidly paid him lol

Likewise

I sometimes do 50% panned vocal layers but yeah

Orchestral elements and sound effects too.

Harmonized solos all in or all out? 6 vocals harmony all in or all out? Violins, violas, cellos and dbbass all in or all out? I don't think so, buddy :)

He's working on a different level. He's not trying to do what Bobby does, he passed that years ago. Bobby is only focussed on one 'sound'. They're not playing in the same league/ The comparison is not fair.

​@@Dave-Rough-Diamond-Dunnsorry I wasn't trying to compare them, I know they aren't doing the same thing but most people consuming tutorials on KZfaq don't know the difference. I gotta say I'm still looking for a channel between the metal here and the indie on Warren channels

@@pierre-claudemeriot6562 To be honest, I don't remember writing that comment, too pissed! 😬 I do remember comparing Bobby's mixes to Glenn Fricker's and wondering what the secret was. I can't get my mixes to sound like that. Bobby's I can get close, but Glenn's are that one step up. I'd fucked a good mix up the night before, after I thought it was finished, but needed automation and sidechaning to polish it. So I have no doubt all that was running through my drunken brain when I commented! I stand by it, but I feel bad that I've dissed Bobby, whom I admire, and who has taught me so much, when really, I wanted to praise Warren.I apologise to both, and you too of course. Warren's advice is more relevant to other genres I feel, but who knows? It might work with metal, particularly if there are two sets of doubled guitars. In fact, thinking about it right now, that might work for my mix. Instead of automation to adjust the volume on my second doubled rhythm guitar set, maybe, I should automate the panning. Leave the main guitars hard panned, but tuck the others in a bit during the verses, where I've already automated their volume, and then hard pan in the chorus as well as bringing their volume up, maybe even instead of. 🤔 Anyway, I do stand by saying Warren is a level above Bobby, but that doesn't mean Bobby isn't up there far far above our heads!

​ I agree with you brother

I've had clients say the same, so I automate the pan to go to 75% when solo. Works well and adds width when both guitars come back in

@@venomfour20 Yeah, it very much depends on the track. If it's something old style, slayerish kinda mix, I usually keep the panning fixed the whole time, to give that "live genuine we don't care" feeling, if it's a modern production I would do a new track for the break, where the guitar is more centered, with a slight different eq and whatever is needed to be nice out of the mix context.

What do you think about adding a slightly delayed copy of the guitar track and panning it hard to the other side at lower volume and with some reverb, to create the illusion of the sound of the single guitar being reflected at the other end of the room? If only for those sections where there's just one guitar? To me, this helps making the hard panned guitar sound a lot less jarring and more natural when it's suddenly in solo.

@@simonbrunner3062 Bad idea. Many people use cellphones or other weird systems that will monoing the signal, which will result in a phased/chorusy sound. Put an fx on the sound is ok, A reverb will give you that Van Halen effect, but i strongly suggest to avoid duplicating+delaying (or phase switching) the same track. Edit: On a side note, whatever you do, check it in mono anyway ;)

​@@simonbrunner3062I would just pan 100% L & R but send the guitars via aux sends into an aux channel with a short room reverb to create a subtle "room tone" that can be heard in the opposite side from each guitar. EQ the highs & lows out of the reverb to get rid of any low end rumble & keep the pick attack tight & dry, then adjust the level of the reverb channel so the right guitar has a subtle, warm, "guitar in another room" sound coming through from the opposite side from where the guitar is panned. This way you get a more natural sound without sacrificing separation & width. Much more natural sounding than copying the audio & messing with the timing.