Mixing: The "Combination Lock" Effect

[Anderton]

How do you approach mixing? For me, it's kind of like a combination lock. All the tracks are like numbers and when they are all set correctly, the lock opens.

 

However I've also noticed that sometimes, one track can throw everything off, just like having one number off in a combination lock won't allow it to open. When you fix that one track, everything falls into place. For example, there was a song that just didn't seem to be working out for some reason. I kept trying different approaches, but the result was never quite "right." It turned out the culprit was an acoustic guitar part. Although mixed in the background, upon listening to it in isolation, the response seemed quite flat and accurate. But as soon as I pulled down the level and made it a little brighter, all the rest of the tracks fell into place.

 

I guess sometimes it's the little things that count.

[Nathanael_I]

Yes, this resonates. The ideas in the music/orchestration/arrangement have a delicate and needed internal balance. then the technical mix and the artistic mix each have their own as well. Getting something to sound huge, open and awesome takes all of it and the little things matter a lot!

[Anderton]

Another example: as soon as the bass in one song occupied its proper space, nothing else needed to be changed.

[The Real MC]

I've heard demos of hit songs from professional artists. The demos often are very cluttered either with too many notes and/or too many instruments. Tonal qualities of instrument(s) can crowd the spectrum. I've been guilty of the same problem.

 

Even classical arrangements respect space. Watch any orchestra - how often is every instrument playing at the same time? A lot less than you think.

 

Less is more. It takes some self-discipline to recognize the problem and start cutting back.

[SamuelBLupowitz]

I've found this to be especially true when you're chasing a particular reference point or vibe -- "let's make it more Beatley," "let's get a Bonham thing happening with the drums," that sort of thing. You can have the track sounding Pretty Good, but stepping back and thinking about what makes your reference tracks feel the way they feel, even if those elements aren't directly related to the instrument that doesn't seem to sound the way you want, can be a big piece of the puzzle.

 

I had a mix recently that locked in when I balanced the bass much larger against the drums than my ear would normally want -- it took it to Sgt. Pepper Land, and suddenly it just felt done. Sometimes changing the reverb the drums are sent to just makes the vibe happen, even if it sounded good before. These things can seem obvious after the fact, but they never fail to fascinate me.

[Anderton]

For me, there's a step between tracking and mixing that involves removing as much as possible. I'll mute tracks and see what happens. Sometimes this is to de-clutter (do I really need to double that guitar part) but often it's for dramatic impact, like taking out bass or drums in one section that when it comes back in, it's more important and adds variety.

 

I really do believe every track you add diminishes the importance of the other tracks. Of course, the goal might be to diminish their importance (I'm not a fan of "concerto for hand percussion with vocal accompaniment" ) but I always want to make sure the focus is on the rhythm section and whatever lead is happening at any given moment.

 

I had a mix recently that locked in when I balanced the bass much larger against the drums than my ear would normally want

 

When you listen back to "classic" mixes, many of them weren't conservative. Keith Moon's drums on Who albums come to mind.

[KuruPrionz]

How do I approach mixing?

 

A work in progress but becoming more definite (which is a relief!!!).

 

At this point, I'm working on original vocal songs, instrumentals might be a bit different. I have 2 very different projects going, one is my own (slow going) and one is on commission, a fine singer/songwriter who is fun to work with.

 

I want the lyrics to be heard, that's the story. The arrangement/backing tracks are the delivery system, could be a jet airplane or it could be roller skates. A climb up a steep mountain or a tree swing into the creek. Variations are endless (and we worry about plugins?!?!?!?)

 

If the lyrics and the melody are strong, the delivery system needs to enhance them and enforce them.

Time and again, I find that trying the existing delivery system leads to changes in the arrangement - dynamics, emphasis, "decoration" (drum fills, fancy fingerings, etc).

For my own material, I try changes in the arrangement that come from inspiration. For a client (I actually have one right now!!!), I consider their own authenticity. In both cases, I am influenced by any number of random bits and dabs I learned from years of playing cover tunes.

 

I find as I get closer to an ideal arrangement, many mixing problems solve themselves. After the vocals are clear and upfront, I work on the interaction between bass and kick or any other substantial low frequency information. The less the better but something should be down low and anything else needs to fit in a bit higher. so both can be heard distinctly. The low end is the "motor", it propels the story. I haven't gotten that aspect figured out yet and it is liable to change depending on the story but I'm getting a better handle on it. The real decision is: Kick or Bass? Once that is made there is a basis for proceeding (including deciding to flip those two around!).

 

I was all in for stereo guitars and all sorts of fancy sounds when I started going at this. Long ago, recording to 4 track cassette, I had very few options and decisions were made for expediency. Now that I can do anything and have tried to do everything I find it difficult when I've overcomplicated the vehicle and left the story sitting back at the last stop.

 

Over time, I am gravitating towards simple parts played with intention, maybe 2 separate parts on instruments. Gotta leave a bit of room for backup vocals!!!!

 

Different metaphors, same basic deal. Craig, you are miles ahead of me in many aspects, I may never catch up and that's OK. I'm having fun and enjoying reading other people's experiences here on MPN, it's been a great find for me. Keeps me feeling challenged and there are lots of fresh ideas to consider. Attempting to become fluent in digital recording in a short period of time can be pretty draining but I'm feeling like I've got a reasonable level of confidence to proceed, in no small part thanks to threads like this one! Cheers, Kuru

[Anderton]

I find as I get closer to an ideal arrangement, many mixing problems solve themselves.

 

Of my own projects, the easiest one to mix was my

[/b] album because few songs (if any, now that I think about it) used more than 8 tracks. It pretty much mixed itself. It's like I say at seminars - it's easy to mix a singer/songwriter with guitar. Add another singer, and it gets more complicated. Add more band members...

[KuruPrionz]

Checking out Simplicity on my laptop speakers. It translates well, your stories come out clearly and I can hear everything.

Great drummer too!!!!

[Anderton]

Great drummer too!!!!

 

Most of the drums are loops recorded by Chris Hughes, a Nashville studio stalwart, that are part of a Discrete Drums library (unfortunately, no longer available). I love his style. I cut, paste, and modify the loops a lot so it sounds more like a drummer playing a part than just loops, but he's so good you can't go wrong. Also, the drums are recorded in a very neutral way, so I can add the processing I like. That makes it so much easier to bring out the best in his playing.

 

I credited the drums to "Chris McHugh" on Simplicity because I didn't know if he wanted to be associated with my particular music, and I also didn't want to take credit for the drum parts. However, I've since heard it's okay to give his real name.

[KuruPrionz]

Got it. Well done, it does sound natural in the mix.

 

One of the best things I've learned recently is creating drum arrangements using MIDI loops from NI Studio Drummer.

Another set of loops created from a real drummer recorded in a real studio.

 

Using MIDI allows easy tempo changes if needed.

 

I don't know the drummer's name so I am off the hook!