Quite nice.

Imho:
- I'd start with pads a bit more low passed and slowly open them until the beat kicks in.
- Bass needs a bit of treatment, should be more audible.
- When leads kicks in, pads should step back a bit.

...but it's just opinions.

Quote from: FarleyCZ on February 11, 2016, 09:52:26 pm

...based on past failures.

I think this may be the core of your problem. How do you define success, and how do you define failure?  Are you in this to "make it"? Or to make good music? What have you done that you consider a failure?

Well that's a milion dollar question. It would have been nice to "make it", but I don't think I've ever had ambition to do that, so that's definitely not it.
I understand music as a way to share emotions. So for me success is when listener is somehow emotionally affected by the track. ...at least a little bit. Failure is when I trust the track, but in reality it doesn't speak to anybody. When I like the track, but not many other people do. When it's just empty despite all the effort.

I second this. His books rule. Especially Mixing Engineer's Handbook. 80% mixing issues discussed on forums like this are solvable just by careful reading of this book alone.

I think I'm not alone in this.

How do you cope with lack of belief in yourself? There are quite well documented and widely recomanded ways how to deal with it in real life, but it's something else when producing. ...when right in that second before a creative descision a doubt appears out of a sudden. You're supposed to base that descision on your taste, on who you are, what you like and what do you believe in. ...but what to do when that doubt just screams at you that all that stuff is just wrong? ...based on past failures.

How do you silence it? Breaks? Switching projects? Calling it a day? Alcohol? Socializing? Scheduling a therapy? ...or do you listen to it somehow, use it in some way?

I too, but usually for percussive sounds. I'm thinking about glitching either the whole thing, or the major elements one by one in some wierd way.

Thanks guys for the notes and inspiration!

Thanks guys so much for a lsiten! I feel more and more like this needs a bit of rest now, though.

The chorus of this track takes me to the 90's in a positive way.

Dunno if I'm happy about the 90' vibe too much. :/ With some expections (some ATB, Chicane, Miles) I kinda hate 90' electronica.

I also feel that the growl bass is lacking some "bite".

I feel y'all about the grit. Might distort or layer it a bit more when/if I get back to it.

The other, KOAN sound -like wobble fill could also be more present.

Now THAT's a compliment, thank you!

Love the atmosphere in the beginning. How did you do those glitchy/metallic sounds in the background?

Foley effects. Nothing fancy.

Overall, I liked it. I say...don't over think it. But if you did want to overthink it: on the 2nd half of the last chorus, double time it and glitch the fuck out of it to drive it home. I'd be willing to help if you wanted, I really dig your vibes here. Would be a great ending song for a set.

Ok that's a cool idea. Will try it or come for help if needed, thanks for the offer!

Wow, thanks! Great points! I guess I might put this one on hold for some time, so I can feel it again properly, but I'll definitely look at your suggestions. Thanks again!

How's the sound engine? Does everything sound nice and warm, full sounding?
How would you compare it to Sylenth?

Sounds nice, warm and full as much as you make it sound that way.  ...like with Sylenth or any other synth.

...it's kinda missleading to use such a subjective expressions to compare sound profiles of anything as everyone imagines them a bit differently.

It doesn't sound exactly as Sylenth, if you ask that, but awesome in it's own way. Sylenth's high end is a bit more present I'd say, but Spire has much more possibilities and that comparatively weaker high end can be labeled as "smooth" or "creamy" and considered an advantage for a lot of purposes.