real nice piece you got here you capture the cinematic perfectly, just a few tweaks to the mix so it sits comfortable, great help from Manuela, and believe me that will all become clear as you become more skilled, but its a great starting place, its so important to solo the instrument/vocal your working on as she mentions, you cant do it properly with everything playing, when you unmute its a case of using the slider to get it just right when you mix everything. keep up the hard work bro

I'm priceless *lol. You'll be fine.*smile

Hello, as pseudoble already said. There is a whole lot of help and courses on the internet. I would start very small. Mix up a little band. Vocals, 2 guitars, bass, drums. You put the tracks on your mixer and simply mix them down in terms of volume. No effects, just dry. When you have mixed them up so that you can all hear them well, take a guitar and pan it slightly to the right. The second guitar slightly to the left. Leave vocals, bass and drums in the middle. You will notice how these small spatial movements make the instruments easier to hear individually. Then turn off all tracks except bass and drums. Mix them down in such a way that bass and drum can be heard together. The next step is to take the drum track alone, mute all other tracks, and adjust the bass using the tone controls. Middle and treble so that the bass drum, the snare, the hihat can be heard well and clearly. Then you take the bass track alone, mute all other tracks here as well, and adjust the sound until you are satisfied with the sound of the bass. You do the same with the other tracks, except for the vocals. Then you turn on all tracks except for the vocals and do a volume adjustment again. If all that fits, you already have your backing band. Now put the bass and drums together on one sub-bus track, the guitars on a second sub-bus track. This gives you the opportunity to change the volume of your rhythm instruments (bass, drums) and your accompanying combo (2 guitars) with just one controller each. It doesn't mean much now with this small band, but the more instruments you have, the easier it will be to continue working. To the vocals. A singer needs spatial presence. That's why I triple the tracks. D, h. I copy the original track so that I have 3 tracks on the mixer. I leave one track as it is, I chase the other with a reverb, the last with another effect, e.g. B. an echo. And so extreme that only the reverberation can be heard on one track and only the echo on the other. I place these two effect tracks next to the original track (with the panorama controls). You will notice that this makes the vocals (but also a sythi, or a violin, for example) fatter (stronger) and wider. You also put these three vocal tracks on a sub-bus track. Now, with these three sub-bus controls, you can tweak your band the way you want it to sound. Of course, this is just a simple example. Because there are still effects and filters. But that would be the starting point to build on.

I like it a lot.
I didd hear a lot cinemitics on LM but this one has something special.
Well done for a second one

Beautiful work - keep going with the (re) mixing - Manuela gives great advice. Waves used to have a mastering essential course for free (but I couldnt find that now)though they do have a load of courses you can pay for but there are many good youtube videos with similar content.Id start there. You will get good feedback on LM too - I dont know what Im doing half the time but the advice here is gold and it's fun to try to get a better sound.

Hello. Let's start with the supposedly simple one. If you compare the graphics of your song with the graphics of the others, you can clearly see that you have taken a lot of dynamics from your song by almost completely missing mastering. You not only see it, you also hear it. Then, in my opinion, you placed these wonderful symphonic sounds too close together spatially during the mixing, partially superimposed. They mix too much and are not acoustically perceptible enough individually. But it is precisely the structure of a symphonic orchestra that lives from its space-filling sound. From its own tonal dynamics, from the vibration of the individual instruments. I know it's hard to convey this. But to do that, like in an orchestra, you have to give each instrument its place on stage. It's a lot of work, but it's doable. Your composition is wonderful. Now give her the fullness she needs to work optimally! Greetings Manuela

It's very nice. I especially like the transition after around 1:13.
As a tip, you can probably increase the master level on your track quite a bit, and then possibly gain some loudness with a bit of compression. Not so important musically, but it may help you to get it across.