@Morgan: The starting cymbal tones weren't great on this one, for sure. Not sure I agree about them sharing similar characteristics on all my work. The starting points are all quite different, from project to project, and the mix processing is also project-specific. You may be remarking on something that appears as a byproduct of the mastering process. I notice that the masters often come back edgier, and more focused in the high-end compared to the mixes I send out. Perhaps something there is not gelling well with you.
I used the wrong wording.. the cymbals aren't similar across all your mixes, but I think I've commented on not liking the cymbals in pretty much all of your mixes. As a drummer they stick out more to me than to most people, and cymbals are hard to get right, even if they are quite a minor part of most mixes. There's nothing worse than a drum mix with soft cymbals, especially if the drums are replaced, it just starts to sound like some techno drum machine. Not saying yours sound like this, but just an example. You may not be working with great cymbals, but it might be worth buying some (you can go to most Billy Hyde shops and try them out, the Zildjian K's record REALLY nicely). All I meant is that, to me, it seems to be a common weakpoint across your mixes and something to work on.
If I may get a bit presumptuous here. You've commented on a fair few of the records I've put up here over time, and it's been greatly appreciated. However I've noticed a tendency you seem to have, often characterizing sounds and balances in black and white terms, such as something being 'better', 'worse', 'too scooped' etc. This gives away that you've got an arbitrary idea in your mind of what a perfect mix is, and with no disrespect intended, is a somewhat 'new engineer' mode of thinking. I know because I did it myself for years. Ultimately it's much more productive to think of mixes in shades. Different colors to suit different landscapes and different subjects. Of course we know there is no such thing as a 'perfect' mix... just the 'right' mix for the music. This isn't necessarily referring to any single statement made here, but rather just an observation over the collected whole of your posts I've read over the years. Take it as you will, or discard it (as I likely would have years ago), but I hope it starts to make more sense the more records you yourself work on. Viewing each project as a unique opportunity tends to dispel any ideals you might have about what's objectively 'better' or 'worse'. It's more about what is appropriate.
Again I think this is more an issue of miscommunication.. As you could probably tell from some of my favourite mixes (Blackwater Park, Reroute to Remain), the 'right' mix doesn't need to be super punchy and balanced, etc. I've often wondered if the 'flaws' in my favourite mixes were fixed, if I'd like them as much, and I probably wouldn't. Usually when I comment on a mix, I'll offer my opinion on the mix as well as your take on the song, and how I'd approach the mix differently. Ultimately it comes down to taste, but if I happen to offer a suggestion that someone likes and incorporates into their mix, then that's awesome.
However, my comment on the bass tone is probably spot on to what you commented on.. I'm taking the solo'd bass bit and comparing it to your other bass tones, regardless of how it works in the mix. On the one hand, it did sound a little too 'tight', I think, whether it was edited or not, it sounded like it and, if I was the engineer, I would have approached it differently. Regarding the actual sound however, it may not be as good a bass tone as you've produced before, but a good bass tone can't come at the expense at everything else.
