APZX

Essentially all of what Timaeus said. The lead is unbalanced to the rest of the track, The bass needs . . ., bass. Just hollow sounding. Snare needs more low energy and less high energy. Kick is lacking in attack, but it doesn't sound all that bad really. Try giving it a bit more 3-5K though, a lot of times this helps bring out the click or attack of the kick. The rev cymbal just needs to be quieter. Other than that I don't know what else to say really. But yeah pretty much everything Timaeus said.

The real question you have to ask yourself is what are you missing that you feel the professional tracks have. Is your low end completely out of control and lacking that cemented feeling? Are you lacking that certain intangible notion of depth and space? Are you lacking the stereo width? There are seriously dozens of questions to ask yourself of what you might be lacking, but first have to identify what it is you're missing or at least what you feel you're missing. A lot of times mixing is really performed in the composition without even realizing it. A great mix stems from a great composition. There are things that can be done in mixing to force things around but this is fixing something that should have been identified in the composition. Start mixing from the get go in the composition. Getting the spacing of instruments and macro dynamics there sorted out. Then when it comes to mixing these can be enhanced. Having said all of that without an example I'd be hard pressed to give you more than general/philosophical advice about mixing. I can say that for sure the biggest two things for me have been to listen lots of different material ranging from Jazz to Heavy Metal to Trance to Pop to really most anything. This has really helped me in coming up with a sort of mental palette of different kinds of sounds a track could possibly have. The other big thing is practice. Lots and lots of practice. Every technique you read about in reality is more of a tool in an ever growing toolbox. It isn't often that you really should have to break out EQ notching and then using that to feed into distortion to make a sound usable. However, when you need that kind of technique for something then it certainly comes in handy to know it and how to use it. Ways to create width, space, depth, control low end, prevent masking, use masking to your advantage, de-essers on cymbals, etc . . .. Just techniques in what should be an ever growing repertoire of skills. But you have to practice them. I can say this for certain. I mix my own material quite differently than I do someone else's material. It is really important to try understand what you want the track to sound like at the end. Having a clear goal in mind of what you want it to sound like is a very important thing to keep in mind when mixing.

So, I'm mostly going to mirror Timaeus' criticisms. Like why is that lead panned out in the right at :50, but the counterpart doesn't come in for nearly another 10 seconds? I mean I get the idea for stereo width and the like, but there are other ways to do that. Why not pan it right when the other lead is playing? That is a pretty easy thing to do really. Or another option might be to keep the original lead in the center and then have some kind of auto panning on the second one. Needless to say it has too much power to be solely in the right channel and it is kind of grating on the ear. You need to find a way to balance it against the left channel. Now, I did like the lift in energy around 1:15 and it actually felt appropriate to me to create a bigger fall for the solo piano that follows. However, I got to admit the climax at the end is actually quite good sounding. However, this is also where the mixing issues really start to become apparent. Maybe it is just that I've spent too much time mixing today, but here goes. The intro is solid enough sounding and has no real issues. The kick & bass are arguing with one another to a degree which is not something you really want. There really are only three ways for this to work out. Let the bass win, let the kick win, or let the sidechain win. Your choice, pick one and roll with it. It sounds like you've got some slightly sidechaining going on during the uplift around 1:15, but really that could be a master compressor as well. Also, during that section you've got some high frequency elements that are getting lost a bit due to the kick & bass and they're also clouding up the hats/cymbals. The piano in the breakdown is very nice sounding IMO and the effect that brings up the climax is very fitting as well. The climax starts off strong enough. Decent overall balance if a bit on the brighter side of things making it harder to hear the overtones of some of the instruments. Then comes in the clutter. Look I'm all for having a lot going on, but the more you have going on the more you really have to get in there with volume, pan, & EQ to separate it all out and make it clearly audible. Another choice you have is actually to layer a few of the sounds together to create a more complex timbre that is almost one thing and yet almost another thing at the same creating a more interesting sound all together. Personally, I'd suggest letting the various elements simply breathe. They sound really squashed up there all together IMO. Pretty good track though I think. Chill but with enough attitude to be interesting.

Timaeus gave a great bit of info on humanizing the various instruments. And honestly I'm not the person to ask about it, but those are things that I look for in a recording. Having said that I think the biggest issue with the articulations is really just an issue of having to remember what the instrument needs to be doing at any given point. My quick thoughts on that. For reverb, I'd say use something like a cathedral type, impulse or digital in nature would not really matter, is probably your best bet. You'd be using it more that final layer of polish. I'd also suggest using only one channel and then actually try mixing the track as if it were fed straight into that reverb. Find where it sounds good and EQ off any offending spots probably some low end (100-300Hz) and some excess high end (8-10KHz) and probably a few spots in the midrange that may creep up. Really all you're using the reverb for is to add extra dimension, weight, and reality to the composition. Now, for the volume. I'm going to say that other than the ending being just a bit too much of a drop I felt this was actually dynamically rather good. It built nicely and got plenty big sounding. However, the thing I think you're really missing is that an actual orchestral recording has the conductor and musicians themselves to balance it all out. This is where you're going to have to come in. You'll have to tame the various instruments in order to make it appear as if they're competing with one another. I would actually in general stay away from compressors & limiters initially and work on just using volume automation to bring the dynamic range of the track more in line. You really just have to decrease it by about 5-10dB and it would probably be just fine and honestly the ear probably would not have a problem with it. Another thing to keep in mind that a lot of the perceived volume of a track has to do with how the sound was played, not just how loud it is in the mix. Other than that really pretty track.

I honestly took notes as I listened to this and were taken in a linear fashion so here they are: - Drum Placement is off sounding or just plain weird. - The timpani that comes in when the drums come in causes masking issues with the bass making the timpani difficult to properly hear and it does not help that the drums mask the timpani hits. - The limiting is quite audible in the large variances in instrument volume when other instruments come in. - First few minutes are really quite excellent and the beginning of the lead section included. - The cymbals are just too prominent. - The synth solo makes little sense in context with the track. Perhaps tie it more melodically to the original track? - The E.bass, synth bass, and lead that all play together have the issue of not complimenting each other well. - Lovely pads. - The Flanged/Phased drums create too much masking with the other instrumentation. - Ending is actually quite good. - The ride is too prominent. The biggest issue I have is that you're edging very close to far too much masking. In the sense that instruments lose their place due to other instruments. This honestly to me seems like pretty much everyone's major gripes with the track. As for the cymbals. Personally I think they are just a couple of dB too loud. Turn them down a smidgen and all would probably be well. Now, other than the solo really not making any sense in the context of the track I have to admit I rather like this. When it hits on all cylinders it really reminds me of playing Tiberan Sun and getting my base destroyed by Nod missiles. You got the feeling pretty much spot on and that is pretty darn cool.

I'm going to start with mixing considerations. The drum introduction. Okay LPFs are great and all and yet so many people ignore the HPF. You could probably get away without having to use any resonance at all and achieve a very similar effect. The drums would more drop into the mix rather than rise up. The kick. Okay that is a big giant booming kick. Now, I'm going to say that sustain is probably about 200ms too long. Plus the sustain is quite sloppy as well. You're going to want to tighten that up. The last section's kick however needs some total beefing up. Just way too weak compared to the rest of the drums. The only other big complaint I have for the mixing is the lack of any distinctness between the L&R. It all kind of sounds samey. Composition wise I get the feeling that there are two different tracks here. You've got that intro and middle section that work well enough together. Sure you have to tie a few bits and pieces together, but nothing crazy. However, that last section has absolutely no tie in with the rest of the track. Give some hints or something in the other portions of the track. I kind of want to know that it is approaching if that makes any sense. If you're trying to aim for a dichotomy between two different sections then might I suggest using the drums more aggressively? You're dabbling in the realm of DnB. Make those drums work for a reason to exist in the track. Try to use the drums to really separate the two parts as much as possible rather than relying on big breakdowns and buildups.

Nice light feel touch to most things. I feel that the background resonant arp in the back during the break is a bit generic sounding especially when you consider that at the beginning of the breakdown there is this wonderful crystalline sound at first. Though that bass does deserve some special mention as it sounds wonderful. You're giving it a lot space too. You could go for a drum solo after if you wanted, but I think it is going to require a soft touch as too much energy and the track might feel like it is bouncing energy around too much. Too little initially might cause a loss of too much momentum. Perhaps a drum solo to take the track down? I dunno. But what I'm hearing I'm liking so far.

Finished more or less just looking for some thoughts.

That hard panned guitar in the beginning. That is what I'm talking about. Good stuff. Also, the guitars are just straight up meaty. Actually pretty much everything but the drums are meaty. The bass is nice and solid as well, but could more variation in the way it is played. That little riff in the middle of the track with it? Awesome. Drums are nice and solid for the most part too. Really only thing that would be nice is if the snare had a bit more power to it or a little more top end. But other than that I've got no major nitpicks with the mix. Composition wise I'd prefer a little more variation all through. Maybe it is just too sedately paced for me or something, but a few more riffs here or there would go a long way. Also, I did not care much for the 2:35 drop off to drum fill. Just seemed completely out of place to me. But for realz those guitars are mad meaty.

Timeaus, I gotcha on that. Okay, so update. I redid most of the lead line and mostly changed the outro voicing . . ., mostly. With that said I've still got things I'm working out, but I have spent too long today working on it anyway. I really did not change the structure much. The breakdown got extended and is where I'm still doing a lot of work on how to play it out. Not sure if I need to take away layers or add more at this point. Perhaps a busy work week away from it will help. The lead however got a lot of work done to it. The strange confusing lead bit is still there because I like it but there is a lot new stuff to it as well. Comments welcome. Also, I know there are more mix issues than you can shake a stick at. I'm not at the stage of cleaning it all up yet.

There are a ton of resources for helping with mixing! I'll put some links at the end of the post for you. Okay, so bass I think is difficult to get right in general. Some things I would try if I were mixing would probably be this. First, I'd start off with the ever powerful HPF on everything but the kick & bass. Probably around 200-250Hz. This would give me a good idea of what is going on in the low end of the track. After I get that a little more sorted out in that area I'd then start moving the HPFs lower on certain instruments, probably the main vocal, guitar, and snare to give them all a little more body. You just have remember that most instruments normally have nothing that is really important below 150 - 200Hz anyway. They normally do not add anything to the mix. Anyway, after I got that working with just EQ I would apply some nice mild compression to the bass to even out the volume of it. Something you can do to give yourself some more perspective on what is going in the low end is actually place a LPF on the Master channel and cut everything but the lows. It could help you hone in on what is going on down there without having the distractions caused by all the higher frequency stuff. Drums are also difficult to mix. However, as I said you've got a good start. Now, I know this is not EDM or the likes, but believe it or not sidechaining is still useful even in this kind of situation and I really love sidechaining the bass to the kick pretty much most of the time. Though there are other options. One such option is letting one or the other win the low end. To let one or the other win simply cut, what about 50-60Hz from the kick or the bass (in the case of this track). This will let either come through much more prominently. If you listen to a lot of rock from the mid 80s through about 2004 rock you'll be able to hear this in action quite a bit. But really I think giving the kick a good 6dB+/- boost would really help it out. Now, depending on how you want the kick to sound determines how you're going to treat it. Giving it more lows, less mids, and more highs will let some of the lower harmonics of the guitar and vocals through more. More low end fights with the bass more and the highs start fighting with the snare. I think perhaps keeping the mids of the kick, ~500Hz, and a bit more beater, ~6KHz, would probably work well with this track. These freqs btw are where I would start with the EQ. Not saying that they are where you ought to treat, just starting areas. Also, now that I'm relistening to it the snare could do with a little bit of a volume lift as well. As I said I don't know how you recorded the drums but where I like to start with drums is actually with the overheads. I try to get them to sound as good in the track as I can with just them first. Then from there I'll add the kick and snare to essentially enhance those two instruments. You'd be really surprised at just how much of the drum sound comes from the overheads. Also, do not be afraid to flip the polarity of the kick and snare relative to the overheads. Sometimes it really helps in tightening up the sound. To help hearing this you can mono the track and play the track through just one speaker. It can make it easier to hear what is going on phase wise. Okay, for some resources! Recording Revolution's 5 Minutes to a Better Mix series actually a great resource. He has put out 3 of these and even though I know my way around mixing (still learning) it still great to see different ways of doing something and even just rehashing the basics from time to time. If you want some books I'd suggest as a starting point being Mike Senior's two books: Mixing Secrets for the Small Studio and Recording Secrets for the Small Studio. Very well written and easy to understand. There are more books as well that you could look into such as Mixerman's series of books and if you want to get really into the technical side of audio then Bob Katz's Mastering Audio is a great start to it as well. Other than that I'll tell you this. Getting better at mixing will simply require lots and lots of practice. Eventually you just start notice when something isn't right or off and know some ways you might treat it to alleviate the problem.

Oh more punk? Should have said that in the first post! In that case you'll want to lofi the drums. LPF, Limiting, etc . . . the works. The bass you'll probably want to make it more "nosey" if that makes any sense. Still give it some more low end but then right around 1-3KHz bring it out more. Watch the 200-800Hz range when you do this though as it could become boomy. The guitars still play around with hard panning though. Punk may be off the cuff, but you can still make it use the stereo spread if you kind of abuse it.

Timaeus, Funny you mention pretty much all those spots as they were the spots where I had ideas for before you posted it. One idea that I'm currently working on is essentially writing a very long lead line that kind of evolves throughout its stay. Working out a bunch of the kinks with it right now, but I think it may end up working out quite well once I write it. Your comment of legato is also very much spot on though as it is something I'm working into the new lead line. Good interest with the mix between the two but does come with the task of making more agreeable harmonies. I'm not sure what I'm going to do at 2:42 though. I tried some quick toying with removing the lead and just seeing how that sounds and I'm not sure putting even a powerful bell in there would help much. The end of the track though. Look there really isn't any more bass than during any part. The difference is that there is a lot of sustained bass whereas the rest of the track has staccato bass. That is really what is accounting for most of that increase in low end. But the point is noted regardless. I'm thinking of trying to make that bit a little ambient or perhaps heavenly and awe inducing. But I don't know yet. Lots of ideas and not a lot of time to mess with them all.

My only complaints come in the form of mixing. The bass is hollow and muffled sounding. Give it some more low end and take away some of the lower mids and give it a little more top. As cliche and dumb as this sounds I really want that snare to sound almost 80s over the top, gated reverb included! Well okay maybe not that much 80s, but I think perhaps a little bit more over the top than you have it. Also, with the drums they're just kind of not powerful at all. I really want them to be more upfront and in your face. They sound okay, but they just lack any real power. Another thing is your guitars are pretty much straight mono. You've got a whole stereo spread to play with. I mean I think they're a bit dull, but that is really personal preference more than anything. Finally, that "hooo" in the middle of the track really needs to be spruced up. Got to make the mix interesting to listen to. Digging the composition though. Lots of fun. Great playing throughout and I really liked the addition of the choir/pad at the end. Nice touch.

Michael, E-curious, huh? Depending on the kind of EDM you're listening to really determines how much repetition to expect. If you go back about a decade or so and listen to Trance you would be surprised to find that it is highly repetitive and that for a 7 or 8 min long track you've probably only got about 2 min or so of the good stuff. It really is just how the genre works. But the thing you really have to start paying attention to are the little minutia. But I am getting off topic. It is funny that you mention meandering at all as that was the goal. However, it seems that I'm going to have to make the lead lines a little more adventurous because they're not doing what they are meant to which is to make the mind wonder and question. Or perhaps I'm just writing to abstractly and need to be more direct with it. More experimentation! That same ideology is also towards the part that you felt the track lost drive. Now, I did intentionally drop the drive because honestly, I felt like I needed a break from hearing the same darn beat the entire time. Really just need to get back to playing with the lead lines more I guess. Timeaus, See, that was the goal overall. It just seems that I need to make it more obvious. I do have some more ideas on how to accomplish it, but it is going to take some more reworking. Thanks for the comments though. Got me thinking.

This originally started off just as a little bit of messing around. However, as it progressed I started liking it more. Now, after spending some time with the track and fine tuning what I could think of I think it is more or less done. Though not complete as I still need to properly mix it, but it doesn't sound that terrible right now anyway. Let me know your thoughts. https://soundcloud.com/apzx/blue-fields-remix/s-BfALJ Edit - http://www.mediafire.com/listen/cwv3suuelo4as9v/Serene_Pastures_1_-_APZX.mp3 Okay, so the composition only changed by a minor degree. However, the mix has changed quite substantially. In particular I'm calling the mix done. And for those who are unfamiliar with the original, .

Mix feedback? The things that immediately popped out to me on the initial listen and I will expound on each: - Bass: A bit uneven in volume throughout, is slightly "tubby" sounding, and lacks some upper freq presence. - Drums: Overall sound quite good and well recorded but certain instruments of the kit are lacking some presence (mainly the kick) and are a touch dark - Acoustic Guitars: The rhythm guitar is quite solid, good presence natural sounding etc . . .. The lead guitar though has a touch too much bass. - Vocals: Other than a handful of the lower notes needing a little bit of EQ they're actually pretty good. Could have the volume a little more evened out to make them a little more present throughout the track. The real thing that got me with the vocals were the harmonies and reverb. The harmonies have the issue of almost being too similar in overall tone. The reverb needs control on what frequencies it is going to reverbate. Most of these are honestly pretty minor issues except for the kick. I can hear the kick, but it definitely lacks any real definition. What I mean why I say the bass is "tubby" sounding is that there are a few notes that when hit cause a certain unevenness in the tone of it. Honestly, it sounds like about 100-200Hz is just a bit too hot. But that could be the acoustic guitar as well, hard to tell exactly what. The bass strings could do with just a bit more too. Drums I actually really like except for the kick. Personally, I'd think a small bit of high shelving to give them just a bit more air would sound very good on them. I don't know how you recorded the drums, but if you can just get that kick out more in the mix it would be a tremendous bonus. The guitars much like the drums are actually very good overall. The problem I'm having though is determining if the tubbiness is the caused by the guitars or the bass honestly. The lead guitar line is especially at fault though. Cut that low end. The vocal harmonies just need a little more differentiation from the main vocal. Filtering out some top end would probably be effective as well as making it wetter reverb wise but taking some more reverb off the main vocal. The reverb on the vocals I felt was actually very nice. However, something to try might be using a short plate or such on the main vocal and sending the harmonies to your current verb instead. Also, try EQing the reverb sends and/or EQ the returns. Try to keep in mind I'm not saying crank everything to 11. Just more subtle changes in the mix would go a very long way and the things I noticed are definitely on the smaller end of the spectrum rather than large gaping issues. You want to try and preserve the feeling you've got, but just make it a little professional sounding. Other than that I just gotta say this was a really enjoyable listen overall.

Timaeus, I think you took that quote a little too literal. My focus when composing is getting the voicing more or less where I need it rather than focusing on depth, freq masking, etc . . .. It just takes too much time to deal with those issues in the composition process. As for the issues you mentioned I actually agree for the most part. I'm just trying to see if there is something I can that I also like. I did figure out a counter lead, kind of. Still need to tweak the actual sound though. Though now you have me curious. You said the ending was unusual, which is what I wanted. What I'm curious about is whether the ending is actually mechanically fine as it were. Unusual was the goal. Seriously, Killer Instinct isn't unusual? Got to reflect some of the game's personality in the track somewhere. Thank you for listening and the comments though. Got me thinking. Finally, check the first post for an updated WIP. Still working on it.

The kick sample at 1:49 is actually an entirely different kick sample and I've been toying with a different types and patterns. So, that is an issue that is being worked on. I have not yet come up with something I like. The problem with the middle is I cannot figure out what I'm missing. It just feels like there is something not there, but I do yet know what it is. I have tried some experimenting with counter leads and such but nothing has really had that eureka moment. Though with the ending I'm not entirely sure how I could make it better or such. I personally kind of like how it is right now, but at the same time I'm not confident it is the right way to end the track as it were. More experimentation. I'm not sure I agree about modifying the intro too much, I could perhaps shorten the time it takes for the filters to open, extend the middle a little and cut the draw down time in the end. It would probably end up being about the same length overall but would probably end up still sounding right if that makes sense. Also, I know the mixing is rough. But for me the goal in the composition is get things about where they need to go. Voicing, dynamics, etc . . .. Then when I do start mixing it will be much better sounding overall. I just do not see the point in mixing from the get go. Takes way too much time from the actual composition. Also, thank you for the listen and comments!

Taking some inspiration from Killer Instinct I have a rough WIP remix of the Main Theme from this SNES title. Source Material Link to listen and/or download I did this very quickly actually so it is quite rough. The transitions need work, obviously the mixing, but I have what I feel is a good base to start with. Really just looking for some feedback on perhaps ways to go or things I should do. I really should say that the mixing is very rough. I will suss that out after I have completed the composition and that is my primary concern at this time. Edit - Link to listen or download. All right so I smoothed out the composition a little more now. However, I'm still wondering if there is enough meat in the middle of the track and whether or not the ending is appropriate or too abrupt. Edit 2- Link to listen or download.

XPRTNovice, Thank you and I too have no idea how it did not get any comments. But oh well. First thing to start with is the bass. I wanted it like that. Completely out front, dry, and without question in your face. I really did and that was a very conscious choice. I had a feeling that it would get on at least one person with just how in front it is. Now, what makes me curious is the comment on the lack of variation. Do not get me wrong I completely understand that there is essentially a loop going on and to a degree you are right. However, there is more variation going on here than you might notice. Bass, arps, and layers in general. So, it does make me curious then if I did too poorly of a job mixing it to make that clear. I will grant that the main layers are considerably more prominent in their monotony. I don't know I guess I have to take a step back and think about the composition a little differently as it makes clear sense to me and I need to figure out to make that translate more correctly. Perhaps over doing it a little bit. Thank you very much for your input. I have got to do some thinking.

Yeah pretty much what he said. You may not have used it on individual elements but the limiter on the master is acting too strongly. Ideally that limiter should be shaving off just a little bit to give some extra level at the end of the process. Try something like this (more of an approach). Remove all the fancy effects from everything (nothing on the master). You just want some plain unprocessed sounds playing. Drop every single instrument's volume to negative infinity (lowest level for channel volume). Then pick what you want to be the central elements of the track and bring only them up to a nice listening level (say guitar, choir, kick, snare/clap). If you're approaching 0dBFS then lower the tracks and turn up your monitoring (in the digital realm you have to create your headroom as it were). After you've got what you feel is a good balance for these instruments. Then start bringing in the other elements and use volume and pan to place them where you want such that they create a nice balance as well. Once you hit the point where everything just starts sounding "right" that is a great time to start adding EQ and dynamics processing. Once they really start sitting together nicely you can start adding those wonderful FX. I'm not saying that this is the way you should mix at all. However, it is an approach that really makes you start paying attention to the different elements and how they interact with one another. Just a suggestion is all. Also, I know Luigi's Mansion is not a horror game. But what I was trying to say is kind of go that goofy spooky sort of direction a little bit. It really would help bring some flair to the track IMO.

Typing as I listen: Perhaps a touch gentler transition in the very beginning (slightly longer reverb decay ought to deal with it). Add some life to that 808 hat (simple volume variance is all you need really). Digging that synth stab though. The strings are also very nice. Good job bringing in the bass too. Not sure how I feel about the wobbles though. The transition at ~1:28 was also quite nice. Really the thing I'm noticing is the that the transitions are a bit on the "rough" or "abrupt" side. But good grief did you do a good job with those neat little sounds all through out. Okay, so mixing wise I find not too much to complain about really. Most of the things I have are really minor things. The strings are one of the more prominent things. They sound like they're in a different space all together. Just compare them to that bassline thingamajig. Some other things you might want to consider. The amount of low mids in the track. Slightly on the weak side. Not that is necessarily a big deal or the likes. Also, take into consideration of possibly adding some more highs to the synths as well. I like how the track is more reserved in that regard, but having some brighter elements I don't think would hurt and would also assist with clarity some. Other than that I loved the composition. The only two things I have to say are: That darn hihat and the transitions. But other than that I have to admit I rather like this.

The biggest thing I'm noticing is the limiter. You've got moments where it is not all that noticeable or audible and then others which it is pretty evident. The beginning is a good example of where it is noticeable. Also, quite evident at 1:40 when the choir comes in and the organ, guitars, and drums all kind of duck to the choir. Speaking of the drums I'm not a tremendous fan. They kind of work with the guitar, but the organ? Not so much. Also, that snare/clap is dreadfully weak. Now, I'm not going to lie I don't really like guitars much to begin with. Overall I like the general direction of them even if they're perhaps a little boring. Though at 3:50 I dug that bit quite a bit. Mixing issues aside the track is just a bit on the boring side of things. You've got a horror style game to deal with. Why not put in some "spooky" sounds during the slow parts to make the track more interesting. You did a little bit of that towards the end, but why not more? Some boos and screams here and there. It does not have to be a lot as a little goes a very long way. A little more on the mixing side of things. There are issues here that would take me awhile to fully expound upon. However, the single largest one I heard was the blatant overuse of compression. If you cannot hear something in a mix then don't just turn to compression. Try some volume, pan, and EQ first. Also, regarding limiting watch that release time. Very important that does not audibly pump unless of course that is the aesthetic you're going for. Fun listen, just mired by the mix really.

So, the single largest thing I notice between your remix and the original is that the original is much faster moving. The time difference between each section is shorter. Okay, now the intro is long but not unbearably so. But then that first swell happens and this is what you got right in the remix. Just so much fun there. Then at like ~2:15 comes in that sine pluck. Now, that in of itself is not a bad thing. But when that flute comes and that sine pluck is playing really high registers? Yeah, that is not only a little hard on the ears but also confusing as it slightly clouds the rest of the mix. ~3:25 I finally hear brass which is great, but really it took like 3 min for it to arrive? And then once it has you don't use in the swells? Come on use those trombones and tubas down low!