Watched this one here recently, a conversation between Venus Theory and Jason Graves, found it super useful so maybe its of value to some of you as well

Hey everyone, I hope you're having a great time! I kind of am stuck with the song I'm producing and I can't figure out what's wrong with the mix. Some help would be amazing and I'd be eternally grateful. Cause after hours of work this song is bugging me slowly... If you could tell me what I could change for the mix so it doesn't sound muddy or chaotic, that would be great. Thank you for your time:) From 0:42 is the relevant part and build up. The beginning is to be recorded again:3 My goal is to have a beautiful atmospheric bride mix but it should sound clean. (I'm starting to hate mixing 😭) (What I already tried: Mono listening and I know that brideness is luxury, Checking the busses/sections to cut out the annoying frequencies, putting some mixes down like reverb and being subtle with it) https://on.soundcloud.com/qRT2ScFkCAyfJpUXRU

Hey everyone! I'm trying something new here. I want to give you a quick recap of what we cover in our live coaching calls, so you can get the key insights even if you couldn't make it. Think of these posts as your cheat sheet for each session. Let me know in the comments if you find this helpful! If you're not part of Audio Artist Rise yet and posts like this make you curious about what we do in the live calls, check out the program. We do multiple live coaching sessions every week covering everything from trailer music production to game music careers, business strategy, and more. You can find all the details on the Audio Artist Rise page. Now let's get into it! 🎬 TRACK REVIEWS, HYBRID SCORING AND CHOIR LIBRARIES Here's your detailed breakdown of the February 10th coaching call. We covered a ton of ground on trailer music structure, layering techniques, choir libraries, game music workflows, and more. Whether you're working on epic hybrid tracks or ambient game scores, there's something here for you. 🎵 TRAILER MUSIC STRUCTURE AND TRANSITIONS The Empty Bar Problem One of the biggest structural issues in trailer music is how you handle transitions between sections. If you build tension with risers and then leave an empty bar with just a fade out, you're killing the momentum you worked so hard to create. The goal is always to build tension toward the next part. Solutions for strong transitions: - Add a proper riser that builds all the way to maximum dynamics - Use a full crescendo that actually resolves into the next section - If you want a gap or breathing space, make it intentional and brief (one beat, not multiple bars) - Let hits ring out naturally, but make sure the build before them is massive - Consider adding taiko rolls or other percussive elements to drive the build Three Act Structure (Actually Four) Technically, trailer tracks follow a three act structure, but in practice it's really four sections: