I know this is really vague, but then it's a pretty vague topic I have in mind. I'm wondering how you would take a mix that just seems BAD (most particularly because there are too many instruments/different sounds happening)...
 
and make it WORK?
 
I've heard that 'less is more'... It makes sense. but what if you have a particular tonality or sound or something that you want to bring out and just can't get it to the front or something? Pretty vague, yes, but I'd love to hear your thoughts.

It takes a while to get "arrangement," which used to be arranging which instruments played where.  Now it is easy to edit out busy arrangements.  Don't be afraid to cut - both volume and whole tracks.  Figure out what you want to emphasis and cut out everything but that and the skeleton of the song.
 
@

Automated mute is your friend.
 
Rocky

you must produce.
 
you must edit.
 
you must begin from the beginning, 
with a completely new and fresh approach.
 
IF......
 
 
and that's a big IF........
 
 
the performances are there, you will pull out the best version of the song.
 
IF the performances are not up to snuff,
you will be wasting your time.
 

just what was in my mind... I was thinking "maybe my recordings aren't good enough". I came to think about the idea that you can't polish a turd... and with lower end tools and skills, this is true.
I think at the same time, I'm bloating my arrangement with just too much movement and too MUCH variety.
 
I LOVE variety, but I think I'll try to stop composing with a full big band inside a symphony orchestra!
Simplifying my arrangements is definitely something I need to work on the for the future!

davdud101
just what was in my mind... I was thinking "maybe my recordings aren't good enough". I came to think about the idea that you can't polish a turd... and with lower end tools and skills, this is true.
I think at the same time, I'm bloating my arrangement with just too much movement and too MUCH variety.
 
I LOVE variety, but I think I'll try to stop composing with a full big band inside a symphony orchestra!
Simplifying my arrangements is definitely something I need to work on the for the future!

 
I don't know how you work, but something that sometimes helps with busy arrangements is to start your mix at the busiest section as if you can get that part right, a lot of the less busy part kinda takes care of itself if that makes sense. If the mix/arrangement is too full before you even get to the busy section, then you're going to struggle to fit anything else in there.

paulo, I like that approach! I've heard of it before but it's always been tough for me to put in into practice.
The thing is that I most lately like to write out my melodies on a grand staff by hand, usually noting two parts in treble and bass clef (like piano in treble and brass in bass, or things like that) and then I build my ideas around that.
Sometimes I pile up a little too much in the production phase.

Like they say in film production......Its not the result of the finished product....
 
It is what is left on the cutting room floor!
 
 
 
or something to that effect.............

I had an art teacher who liked to say, "You have to be willing to kill your children." She was talking about letting go of the attachments we have to "that one little part" that you love, the attachment to which is distracting you from what's wrong with the overall composition.
 
Maybe try muting your favorite parts, in this case hopefully your melodies, and listening to what's left to see what might be getting in the way or what might be good about your orchestration.
 
I think brevity is a virtue that musicians and composers take for granted - can you get your ideas across in 3 1/2 minutes?  If not, why not?