Thanks Enig & Bit.
The advise about listening to pro mixes on my setup seems to be good advise and what many have advised me to do.  I have actually done that several times.  What I'm taking notice to is the pro mixes seem to be in kind of an "envelope" where everything all balances out to the same level.  It's kinda like everything is in a nice compact box where nothing sticks out more than everything else.  I guess this must be good use of compression.  I use compression (Boost 11 among them) but still I hear things that stick out.  This is the first time I've ever used near field monitors.  I've always done mixing on headphones in the past.  My experience with that is I can make a mix sound great in the cans but they fall apart on speakers.  Right now, my best listening environment (for my own stuff) is in my car.  EVERYTHING sounds great there.
 
JB

Yes, part of it is judicious use of compression, but mostly what you're describing is just a good mix,
 
Mixing is basically the process of striking a balance between all the elements. Mix engineers used to be called "balance engineers". Only one element should stick out of a mix at any point in time, such as a lead vocal or a lead instrument. Everything else should get out of the way, augmenting and supporting the currently-focused element without distracting from it.
 
But balance, especially frequency balance, is an ongoing challenge. You'll never achieve a statistically flat, uncolored sound without spending a frightening amount of money and constructing a large, purpose-built room.
 
All systems lie in some way. The trick is knowing exactly what lies your room and speakers are telling you, so you can work around them.

bitflipper
 
But balance, especially frequency balance, is an ongoing challenge. You'll never achieve a statistically flat, uncolored sound without spending a frightening amount of money and constructing a large, purpose-built room.
 

So then maybe I should just give up now and find another hobby because I'm not prepared nor able to spend a frightening amount of money to achieve anywhere near a professional sound. I've spent over $2000.00 this past year alone to improve my sound.  The bank is officially broken for me.

Johnbee58
Thanks Enig & Bit.
 What I'm taking notice to is the pro mixes seem to be in kind of an "envelope" where everything all balances out to the same level.  It's kinda like everything is in a nice compact box where nothing sticks out more than everything else.  I guess this must be good use of compression.  I use compression (Boost 11 among them) but still I hear things that stick out. 
JB

If what you describe is the waveform looking like a solid brick, not all find it ideal. A waveform with no "spikes" usually means no dynamics, either, but that's the trend of the day. If you take some stuff from the 70's as reference, you'll see totally different waveforms.
I believe you don't need to spend more money to get about pro sounding mixes, just more practice. Very often the important desicions are made doing the arrangement, not only when selecting the FX. And do start with volume envelopes before compression. Compress in moderate steps starting from the tracks>buses>Master Bus. And do remember, that sometimes less FX means more effect.
 
I'm a complete amateur myself, struggling forward with moderate tools and a room far from perfect, and mastering no musical instruments, but like the blind bird, I do think I find juicy worms now and then.

Johnbee58
So then maybe I should just give up now and find another hobby because I'm not prepared nor able to spend a frightening amount of money to achieve anywhere near a professional sound.

I'm nowhere near capable of producing pro sounding audio worthy of the songs forum (yet), compared to many of those on these forums. and I have little or no spending money so I'm stuck in the mud.
 
But I think you like me should never give up. Like Kalle Rantaahoo says, a juicy worm appears now and then, a diamond in the rough. For me, it is all about the journey, usually made in tiny steps of hallelujah moments :)

Kalle Rantaaho
 
If what you describe is the waveform looking like a solid brick, not all find it ideal. A waveform with no "spikes" usually means no dynamics, either, but that's the trend of the day. If you take some stuff from the 70's as reference, you'll see totally different waveforms.
I believe you don't need to spend more money to get about pro sounding mixes, just more practice. Very often the important desicions are made doing the arrangement, not only when selecting the FX. And do start with volume envelopes before compression. Compress in moderate steps starting from the tracks>buses>Master Bus. And do remember, that sometimes less FX means more effect.
 
I'm a complete amateur myself, struggling forward with moderate tools and a room far from perfect, and mastering no musical instruments, but like the blind bird, I do think I find juicy worms now and then.

Is there a way to do the envelope thing in Sonar?
 
JB

Johnbee58

bitflipper
 
But balance, especially frequency balance, is an ongoing challenge. You'll never achieve a statistically flat, uncolored sound without spending a frightening amount of money and constructing a large, purpose-built room.
 

So then maybe I should just give up now and find another hobby because I'm not prepared nor able to spend a frightening amount of money to achieve anywhere near a professional sound. I've spent over $2000.00 this past year alone to improve my sound.  The bank is officially broken for me.

My comment was meant to encourage, not discourage you! 
 
It's all about mitigating unavoidable limitations: the room, the speakers, acoustic treatments, even your own auditory system. You can travel across town by car faster than on a bicycle, but if a bike is all you've got then are you going to cancel the trip or start pedaling?
 

bitflipper
It's all about mitigating unavoidable limitations: the room, the speakers, acoustic treatments, even your own auditory system. You can travel across town by car faster than on a bicycle, but if a bike is all you've got then are you going to cancel the trip or start pedaling?
 

Gotcha!  So, what you're saying is if you got the $$$ it's a lot easier.  If not, you just have to work at it a bit more, but it can still be done.
 

EVERYTHING is easier if you've got a lot of money. You don't even have to bother educating yourself, you just hire somebody who's already gone to the trouble.
 
For the rest of us, we have to figure stuff out bit by bit. 
 
When that process starts to feel burdensome, remind yourself that you have tools George Martin and the Beatles would have been extremely jealous of. They did amazing things with far less than what we take for granted today. So yes, it can be done.

Johnbee58
The advise about listening to pro mixes on my setup seems to be good advise and what many have advised me to do.  I have actually done that several times.  What I'm taking notice to is the pro mixes seem to be in kind of an "envelope" where everything all balances out to the same level.  It's kinda like everything is in a nice compact box where nothing sticks out more than everything else.  I guess this must be good use of compression.  I use compression (Boost 11 among them) but still I hear things that stick out.  This is the first time I've ever used near field monitors. 
 
JB

RUN ...don't walk... and go buy this book... http://cambridge-mt.com/MixingSecrets.htm
 
Pay the extra money for same-day or overnight delivery if you have to! Or get it on Kindle/Play Books so you have it immediately!
 
Read it, highlight it, read it again, use the practice songs he provides on his website (literally hundreds) to practice practice practice his techniques!!! Make sure you play his sample files on your system to help you understand what the deficiencies are in your setup (yes, every system has them.) Then start practicing on your own stuff.
 
Don't beat yourself up over the chapter on nearfield monitors though. He HATES ported monitors. You have what you have - no need go and buy new ones. The key is understanding how your room and monitors color your mixes and practicing how to compensate for that.
 
Three things transformed my mixing almost overnight to a higher plane of quality...
1) Addressing my mixing room's modes and reflections as best as my budget allows
2) Proper gain-staging/mix-bus routing BEFORE you even touch your faders
3) That book
 
Compression is part of the equation for a balanced mix but this book will show you how in some cases you may not even need it if you employ a few easy pre-mixing strategies.
 
You are on the right track trying to fix your room acoustics, but you will never get it "perfect" - just closer to ideal. Auralex foam "bass traps" are a GREAT start but they will never fully address all of your room-mode issues at low frequencies. Do what your budget allows and move on.
 
As far as your monitor placement goes, if you want to spread them out a little more, move your whole mixing desk back off the wall a bit so they clear your bass traps. It looks like maybe only six to eight inches will let you do that.
 
Hope this helps! Have fun!!!