Sounds very clean out of the gate. Percussion is tight. The chord lead is a bit loud, it fights for your attention. Also, perhaps raise the low/mid, weighted towards the low end. It is very high-end centric.

The elements work well, nothing jarring except for the aforementioned chord lead. I wouldn't worry about splitting it at the 29 second mark. The flow is good. The build is natural. I'd suggest having the interlude somewhere after 1:15. Either there or where your file ends. Then drop back into somewhere around the 45 second mark, perhaps with alterations to keep interest.

If you haven't heard Alon Mor, his tracks have something for everyone. World instruments for the sophisticate, beautiful sound design for the audiophile, distorted drops for the rapist...

Not to mention they are greatly interesting.

Sounds like a heavy tube-distorted saw pluck with a long attack.

Sounds like a Massive or Serum wavetable played low with a Bend mod. Then panning, etc.

That's the best I can muster in this age of complex wavetable synthesis.

I spent the first eight years of my production not-quite-career on sub par $50 headphones. As long as you know the downfalls of your headphones, you can estimate a countermeasure. For example, if the bass in your headphones sounds too loud, but when you play your track on other systems it is quiet, you can probably safely assume your headphones have some bass boost. So mix to that. Build a frame of reference.

By no means do you need top notch speakers or headphones to 'get good'. Work with what you have. Upgrade when it is viable. I knew a dude who could mix better than I could and he was deaf in one ear.

Coming from the old school, you can use Fruity Peak Controller and Fruity Balance. Put Fruity Balance on the channel you want ducked (use it on a buss to route multiple channels to the sidechain). Put the Fruity Peak Controller on the channel you want to act as the trigger (bare in mind FPC defaults to muted at the bottom). The mute function is handy if you are using a ghost trigger.

Link the FB volume control to FPC Peak with mapping formula: 0.81-Input
This will link it inversely to the trigger. The 0.81 is the default position of most volume controls/faders. 0 being -inf and 100 being max. Think of it as a percentage. I don't know if this is an advertised figure or not, but I worked this out through experimentation many years ago. It has been my go-to method for most of my 14 years.

This is as versatile as it gets. You can then control the wet/dry of the Fruity Balance, as well as the Base, Vol, Tns and Dec parameters on the Peak Controller for the shape of the duck.

I'm a 27-year old who resides in Tweed Heads, Australia. I have been producing for the last 14 years, starting out on Fruityloops 3, Soundforge and Reason. My rendered product is sitting at 13.8GB, dating back to before 2004. I prefer not to stick to a single genre (boring). I am currently studying my Bachelor's Degree in audio engineering at SAE Byron Bay.

Over the last few years I've lost my way with my music. I've suffered depression since I was a kid and lately have become a recluse. My general attitude has affected the quality of my compositions. I've become lazy and unfocused. So I thought I'd come here and share my knowledge.

But above all that, this is me: RISE Soundcloud