Posting a work-in-progress to a general music forum and receiving twelve comments about the mix is not useful feedback when the problem is the sound design itself. The two are different problems evaluated differently.
Why the wrong feedback loop is worse than none
It redirects your attention. You spend three sessions adjusting compression because three people mentioned it, while the actual issue — a poorly designed lead that has no harmonic interest — goes unaddressed.
Feedback is only useful when the person giving it understands what stage of the process you are in and what question you are actually asking.
More productive alternatives
- Reference specific sounds from released work and ask whether yours achieves the same function — not whether it sounds similar
- Describe the intent of a sound before playing it, then ask if the sound communicates that intent
- Find one person with a different workflow and ask them to explain what they hear, not whether they like it
The distinction between evaluating function and evaluating preference is not obvious to most listeners. Building feedback processes that enforce that distinction takes deliberate effort, but it produces information you can actually use.