Just keep trying buddy! The beauty is in the process. A helpful practice is analyzing the EQ spectrum of tracks you really like and basing your mix on that. Keep in mind though that your music is your own, and it's okay if your mixes turn out a bit different, as long as you're happy with them some things I find people generally struggle with is their drums sounding thin, their mix being either too busy or too empty, and their synths and sounds lacking body. Check out some of the other threads on here and see if you can pick up some tips. We all feel the way you do some times, but trust me when you get that AHA! moment, it'll all be worth it

Quote from: TheAGNO3 on January 06, 2016, 11:00:07 am

I used to have that low end issue too with my tracks in a club, a car, etc. It seems to be the common train of thought that 20-25hz and below is where you should roll off your track, but I find that does very little, personally. Try cutting out all frequencies from 40-45hz and below. You will notice a difference in your sub bass signal, but if you learn to work within that boundary you'll almost never encounter overwhelming muddiness from your sub bass, and you can still get a great amount of low end, just much tighter. I feel like the 20hz and below rule applies more to rock and other genres, electronic music can do with a more drastic cut.

As with all my posts, that's just my opinion, try for yourself.

You really need the 30 -50 hz if you're making club/festival music man. Without that infra-sub it will sound weak.
What type of sub bass do you use? And do you make sure the sub bass is the only instrument playing that low down in the frequency range?

I know it can seem so, but not relying on an overpowering sub signal causes you to appropriate a less chaotic range more effectively. I've found using this method that you can get nearly the exact same sound (and a fairly powerful feel in the sub range) but just with a lot more tightness and restraint. To be fair, 45 is pretty drastic, and again it's all about context like you said, but I think there's alternatives that allow your track to be more contained but just as powerful. My mixes personally are quite busy, I don't make festival style stuff or really "dancey" type stuff, so my sub usually has some competing elements but I always try to sonically separate my elements enough that they don't conflict.

It all depends on the sound you're looking for, but typically I'd say yes, absolutely. And equally as important is transient shaping and tuning. Keep in mind that a lot of kick samples actually have 2 keys/tones, an initial tone and a final tone. If you wish to have a long tail on your kick, tune it to the final tone, and if you shape your kick to be short and sharp, obviously tune it to the initial tone. In terms of general EQing for kicks, I tend to roll off from about 25hz and below, and depending on the sample, bring it up about 2db from about 12khz and up to give it more of a "snap". Also when layering kicks, I tend to use some basic distortion on one of them very lightly to give it a bit of a punchy crunchy feel.

Just my two cents, try for yourself

This is something I've been doing for a while and I find it can bring a lot more opportunities to the table when working on a concept.
A while back, I was working on an LP and my computer died. Luckily I had wavs of most of the tracks from the album (although I was still unsatisfied with them).. I moved on from them onto new things since I did have project files for them anymore, until I tried dropping one of the tracks into my DAW and "remixing" my own work.. Changed the way I produced forever. You are able to give a track so much more depth and intricacy, just as you would remixing someone else, when doing this with your own work. Nowadays I usually get a good structure of a track completed, then start a new project and drop the wav into it, editing and manipulating it to create something more.

A good way to put older or unfinished tracks to use