This has such a great groove and hot sensual lyric with a great vocal that delivers desire perfectly! Great driving kick and cool keys! Great house dance song! Steamy fun on the dance floor!

3/3:

So less vocal reverb, and more compression. A lot of club sound is mostly about what you can do with a distortion plugin and a compressor, and then another distortion, and another compressor, and then maybe like a parallel mix of a version with some different distortion, and then compress the two together. Nice.

Be stupid.

Speaking of, even though your kick is running the show, still put a little compression on the drum buss. It does punchy things to them. Compression is a weapon. Fuck with release times for added joy.

What you will also notice, if you spend a lot of time making doof doof, is that you kind of build the mix at the same time as you compose it. So assuming you do gainstaging, start with your kick at -12, and mix everything else relative to that. You can gain the level back at the master chain, where you will run it into a COMPRESSOR.

Theme. Toldja. Less verb. More compression.

Less reverb, especially with long tails (unless you absolutely intend that), for the reason that I'm counselling you to dive into compression, and compression enhances reverb, so you'll soon have more than you want.

K that's all I can think of right now. I hope this is the kind of feedback you were asking for.

2/3:

On actual voice in the mix, turn yourself up, quite a lot. Don't hide back there in the reverb (a lot less reverb). Chin up, you're going to autotune it to fuck anyway, you'll be wearing fairy dust.

Maybe warm it up with just a little distortion and an unnecessary amount of compression. In fact, maybe put a conservative reverb, but put it BEFORE the compressor so it PUMPS (there's theme here, strap in).

Farrrrrrrrr too little sidechain compression. Remember, this is club, you're allowed to be stupid. Make it PUMP.

For club music, you need sidechaining in two key places, mainly (I like to stick them on reverb tails, it's fun). Most importantly, buss all of your bass elements and sidechain that to the kick.

The kick has to consistently cut through the mix every time, and the rest of the bass gets the fuck out of the way. You can tweak the release to make it more/less pumpy, depending.

The other place you need sidechain is just generally over all the musical elements except the drums and the vocals. Send those out to the master separately, and then gently squeeze everything else.

Right now you're being conservative like a rock musician, and I get the psychology: the performance is the thing, you look for authenticity in how it's played. But we're in candyfloss land now, in a genre defined by kids with no formal training who mix on cans. Less is more, except that more is more too.

1/3:

That synth at the end is siiiiiick.

OK so I wouldn't normally disect like this, but since you specifically requested me to, here are my comments on the technical aspects of this recording. I'll break this into multiple comments, you'll figure it out.

I didn't check, but just generally, hit 128bpm for commercial House. You want the DJ to be able to mix it easily. If you're already there, great.

Next, destroy the vocals with autotune. You're a competent singer, but with House, your market expects autotune with the knob wound juuuuuust this side of robotic, and all the way to the right if it sounds cool for a sec.

So I'm not criticising your voice, I'm saying if you want to step into doof doof music, then computer clean is superior to vocal ability - fuck authenticity, make it mechanical.

That goes for timing too; I don't know what DAW you're using, but both Ableton and FL Studio have audio quantizing. Again, not a critique on your singing, but this is dance music for clubs, so the rhythm is paramount. This is just a general thing you want to shoot for when making this kind of shit.

Like, if you decide to go with a shuffle rhythm (and you should; you'll enjoy it), then you'll need to artificially ensure that the rhythm of the vocal sits as tight as possible on those skips. No one cares that it's impossible live.

If you don't have a timewarp tool, you can also do this in a tedious fashion by slicing and slipping words. Just how obsessive are you, Jay?

Really nice synth work here, good energy throughout the track. Good rhythm to the lyric too, drives nicely. Nice perk me up for my morning coffee! 😀

The synth chords have me wanting to jump up and down so energetic! Perfect for a club great job !