Bruce Swedien Posted May 5, 2005 Share Posted May 5, 2005 Music Mixing - The Short Story Ive always felt that music mixing is, in reality, an extension of arranging. I think that gut reactions translated to music recordings are the most believable. Therefore, it follows that music mixing has to be entirely instinctive and intuitive. To be working on a piece of music, and then having to stop the creative flow, to think through a technical function, is absolutely impossible for me. What does a mixing desk have to do with it? The first thing to do is to think PAST the purely technical. The comprehensive strength of a powerful automation system enhances my creative energy by providing new working options. One of the features I always look for in any desk is if it has the capacity to free my creative process. I'm much more impressed by being able to put myself and my imagination into the music, than I am about any specific technical feature on the desk itself. Beyond the technology and the studio environment, is the love of music itself that defines my approach to my projects. I think music is really the only true magic in life. If I can't put my imagination into the music and create a sound field that exists first in my mind, and is not necessarily pre-thought, I will most definitely have a difficult time with a project. If the technology gets in the way of my imagination, I get very quickly bored and Ill frequently start yawning. For me, as you can see, reacting to the sound of the music is enormously important. Link to comment Share on other sites More sharing options...
Bill Roberts Posted May 5, 2005 Share Posted May 5, 2005 I am in total agreement and music is a time machine. It is magic indeed. In the late 60's through today, a large part of my music purchases were "sound quality" oriented. Great music that does not sound good takes away from it being "truly great music". Bill Roberts Precision Mastering -----------Since 1975----------- Link to comment Share on other sites More sharing options...
Kendrix Posted May 5, 2005 Share Posted May 5, 2005 Bruce, Ive read your book. I think you have left out one very important magical item. It starts with the letter "B". Also ...I'm not sure I understand your point about needing to be able to get the "sound in your mind" out in oreder not to become "bored". I often find it a magical experience to interact with the equipment and have unexpected and exciting soundfields appear spontaneously. Either form of magic is fine with me. Check out some tunes here: http://www.garageband.com/artist/KenFava Link to comment Share on other sites More sharing options...
Martin Kantola Posted May 5, 2005 Share Posted May 5, 2005 There are two persons I honestly admire, and who have been and continue to be an inspiration in my work. One one of them is Leonardo da Vinci, because he never stopped exploring the technical details of painting, light, the human body etc. He spent so much time doing other things than the actual painting. He also tried to keep his hard-earned knowledge secret, writing notes in mirrored letters. The other person is Bruce Swedien, because he does exactly the opposite. Martin Link to comment Share on other sites More sharing options...
Ernest Buckley Posted May 5, 2005 Share Posted May 5, 2005 I think music is really the only true magic in life.I don`t know...I look at my son and see magic. The magic between two souls who love each other so much and created something so beautiful. Thats magical! So love gets my vote, then music! Ernest www.ErnestBuckley.com Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 5, 2005 Author Share Posted May 5, 2005 Martin Kantola sez------->Leonardo da Vinci tried to keep his hard-earned knowledge secret, writing notes in mirrored letters. Brucie sez------->I do not believe in secrets because we all bring a great deal of ourselves to the work at hand. I have always thought that if we have to keep those things secret. then they are not really ours. That may sound a bit strange but that's the way i feel about that subject.. I have often been admonished by artists for talking freely about what I do. Brucie the Viking!!!! Link to comment Share on other sites More sharing options...
Lee Flier Posted May 5, 2005 Share Posted May 5, 2005 Originally posted by Bruce Swedien: I do not believe in secrets because we all bring a great deal of ourselves to the work at hand. I have always thought that if we have to keep those things secret. then they are not really ours. That may sound a bit strange but that's the way i feel about that subject..Bruce... I don't think it sounds strange at all. People who believe in secrets obviously don't believe in themselves enough to believe in the strength of their art. If your art is really true, if it's coming from the deepest part of YOU, then no matter how much of it you give away, no one else can do it because they aren't YOU. What you give away may, or may not, help someone else to do what THEY do better, but that shouldn't threaten you unless you are worried that your own art isn't really yours... that it doesn't come from YOU as a unique individual. Link to comment Share on other sites More sharing options...
Billster Posted May 5, 2005 Share Posted May 5, 2005 Originally posted by Bruce Swedien: I have always thought that if we have to keep those things secret. then they are not really ours. That may sound a bit strange but that's the way i feel about that subject.. I have often been admonished by artists for talking freely about what I do. Brucie the Viking!!!! That makes perfect sense. You can't hide who you really are. Keeping yourself a secret is self-destructive. Buy my CD on CD Baby! Bill Hartzell - the website MySpace?!?! Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 5, 2005 Author Share Posted May 5, 2005 Lee Flier sez------->Bruce... I don't think it sounds strange at all. People who believe in secrets obviously don't believe in themselves enough to believe in the strength of their art. If your art is really true, if it's coming from the deepest part of YOU, then no matter how much of it you give away, no one else can do it because they aren't YOU. What you give away may, or may not, help someone else to do what THEY do better, but that shouldn't threaten you unless you are worried that your own art isn't really yours... that it doesn't come from YOU as a unique individual. Brucie sez-------->Wow!!! Lee, you are a genuine, bonafide, top-drawer gasser, and then some!!!! That's exactly how I feel. Thanks for being so concise.... Link to comment Share on other sites More sharing options...
Mats Olsson. Posted May 5, 2005 Share Posted May 5, 2005 Originally posted by Martin Kantola: He also tried to keep his hard-earned knowledge secret, writing notes in mirrored letters. FWIW, Leonardo da Vinci was left handed. By writing mirror-style, the ink didn't smudge. This technique was not that uncommon among left handed writers at the time. http://www.lexam.net/peter/carnut/man.gif What do we want? Procrastination! When do we want it? Later! Link to comment Share on other sites More sharing options...
dman Posted May 5, 2005 Share Posted May 5, 2005 The beauty of Music/Mixing is that every song, mix, performance etc is built from the soul and experiences of the Artist/Mixer. That's why no matter how many "secrets" someone like Bruce shares there's no way we could emulate his soul and experiences. We might learn some techniques but as far as the end result it's an individual thing and that's what I love about creating music. We're only dealing with 12 tones here but every time we create music, there are no duplicates maybe similarities but no duplicates. Link to comment Share on other sites More sharing options...
Martin Kantola Posted May 5, 2005 Share Posted May 5, 2005 Leonardo could probably write both ways using both hands at the same time, and Bruce can probably mix with earplugs, just by looking at the VU-meters. Seriously Mats, that's an interesting fact there, thanks! We live, we learn. Seems I got my point about keeping things secret through even with the wrong information to back it up. My other point was that I have a lot of respect for truly dedicated people. Music really is magic if you are a true believer. Why would anyone spend a lifetime with it otherwise? The more I learn about music, the more I'm beginning to feel the same. It does unexplainable things to people (and dogs). Martin Link to comment Share on other sites More sharing options...
Extreme Mixing Posted May 5, 2005 Share Posted May 5, 2005 Bruce, I agree that music mixing begins in the imagination, and that it is an extention of arranging the parts and pieces in order to get the most emotional impact. But I think there is room for the technical side, too. Sometimes doing the things that have to be done allow my mind to wander and stumble upon that "secret key" that unlocks the mix for me. I don't really want to learn a new system while I'm mixing someone's record--that is too frustrating. I know, because I've done that. On the other hand, I don't think one should use that as an excuse to avoid learning new techniques or new systems. Steve Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 5, 2005 Author Share Posted May 5, 2005 Extreme Mixing sez------->Bruce, I agree that music mixing begins in the imagination, and that it is an extention of arranging the parts and pieces in order to get the most emotional impact. But I think there is room for the technical side, too. Brucie sez------->Absolutely!!! If the truth were to be known, I simply love the technical side of what we do! It's just that the technical aspect of music recording can, for some folks, become thereapy. I've seen it happen to gifted folks that could mix the dog-doo out of their music, if they didn't talk about the nutz and boltz of their studio so much! Bruce Swedien Link to comment Share on other sites More sharing options...
Anderton Posted May 5, 2005 Share Posted May 5, 2005 <> Well, that gets my award for best one-sentence definition of mixing yet. Hey Bruce, if this music career thing doesn't pan out, editing may be your calling . About secrets: I too believe in giving them away, for two reasons. One unselfish: To speed up evolution. If it takes me a year of struggling to figure out something and someone else can read an article and do it in five minutes, they've just had a year freed up to create their own thing. The other unselfish: The more you give, the more you get! As you sow, so shall you reap...I think that's pretty much true. Maybe one reason why Mr. Viking feels comfy here is that people love to give away their secrets, so he fits right in Craig Anderton Educational site: http://www.craiganderton.org Music: http://www.youtube.com/thecraiganderton Twitter: http://www.twitter.com/craig_anderton Link to comment Share on other sites More sharing options...
Anderton Posted May 5, 2005 Share Posted May 5, 2005 In addition to arranging, one other point of reference to me for mixing is live performance. I've gotten so much into the Air Liquide/Dr. Walker "mixing/arranging as live performance" kinda thing I try to bring that vibe into the studio as much as possible. Craig Anderton Educational site: http://www.craiganderton.org Music: http://www.youtube.com/thecraiganderton Twitter: http://www.twitter.com/craig_anderton Link to comment Share on other sites More sharing options...
Extreme Mixing Posted May 5, 2005 Share Posted May 5, 2005 I remember that about you, Bruce. If I remember right, you were calculating tempos to the third decimal place, in order to be as accurate as possible. You also had someone make a special SMPTE calculator, so that you could make sure that the offsets for your edits were as perfect as possible. I enjoy the power and speed that Pro Tools gives me, and I try not to abuse it. It can be an incredible musical too. I'm headed over to the Enterprise auction in Burbank now. I hate that all of us with our home studios have brought down so many of the great studios. I was there yesterday to preview the gear and left feeling a little depressed. I was there three months ago to listen in on Dave Pensado. It never entered my mind that it would be gone so soon. I really miss working outside of my room. Do you? I think it can be educational and inspiring to be down the hall from others. Later, Steve Link to comment Share on other sites More sharing options...
Philip OKeefe Posted May 5, 2005 Share Posted May 5, 2005 For me, not only is mixing an extension of arranging (deciding what to leave in, what to leave out, deciding what to feature / highlight - what I like to call "center focus" - and what to use as supporting elements), but I also approach it as, and consider it to be a "performance" in and of itself. While I CAN mix with just a mouse, it drives me crazy not to have a board - or at least, some controller surfaces in front of me... I want to be able to ride those faders, swell things up, slap the mutes... IOW, PLAY the mix. IMO, that brings an element of real time interaction to the music... somewhat like a conductor directing an orchestra - that you just don't seem to get with single elements being adjusted and tweaked one at a time with a mouse. At least I don't. Of course, that may just be because I'm an old (well, middle aged ) fart and I'm used to that old school way of doing things, but I really think there's a musical benefit to that sort of interaction; when the engineer "plays" and "performs" the mix. Link to comment Share on other sites More sharing options...
alfonso Posted May 5, 2005 Share Posted May 5, 2005 There is not so much difference in Leonardo da Vinci's approach and Bruce's approach, for what I can understand..... In both cases there is a passion and all the work is done for the result. I can imagine Leonardo using all of his mental power not to learn about face muscles as a goal, but to express the most fascinating and ambiguous smile in the history of painting, to produce art that can hit also the most ineducated observer, because it talks of what he feels. In the same way, I think that when Bruce adjusts a filter his goal is to make you perceive the power, the sorrow, the dreams and the flights of the players, but he knows that curve so well and what will come out from a row of dozens of pots that he doesn't need to think more than a fraction of a second....do you think that anyone not involved so deeply in music could ever learn such an amount of knowledge in such a deep way? You cant learn so good and so much if you don't love what you can do with it more than the knowledge itself. It's a little bit the teaching of Zen, only if your mind is already one thing with the target the arrow will hit a perfect center. Guess the Amp .... now it's finished... Here it is! Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 6, 2005 Author Share Posted May 6, 2005 alfonso sez--------> I think that when Bruce adjusts a filter - Brucie sez-------->Or a microphone, or when he selects a specific microphone, or adjusts the sound-field, or an EQ, or a filter.... alfonso continues-------->his goal is to make you perceive the power, the sorrow, the dreams and the flights of the players, but he knows that curve so well and what will come out from a row of dozens of pots that he doesn't need to think more than a fraction of a second.... Brucie sez------->The best recorded music that I have done doesn't involve any thinking at all. The most interesting sound-fields that i have created are more reactive than intelectual. alfonso continues-------->You cant learn so good and so much if you don't love what you can do with it more than the knowledge itself. It's a little bit the teaching of Zen, only if your mind is already one thing with the target, the arrow will hit a perfect center. Brucie sez----->I couldn't have said it better myself!!!!! Very perceptive Alfonso!!!! Bruce Swedien Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 6, 2005 Author Share Posted May 6, 2005 Extreme Mixing sez-------->I enjoy the power and speed that Pro Tools gives me, and I try not to abuse it. It can be an incredible musical tool. I'm headed over to the Enterprise auction in Burbank now. I hate that all of us with our home studios have brought down so many of the great studios. I was there yesterday to preview the gear and left feeling a little depressed. Later, Steve Brucie sez-------->Please don't be depressed. If those studios were brought down, it was more than likely due to their own weakness. They had some excellent acoustic spaces, but I don't think they were as great as some might think.... Look at this time in the life of the music recording industry as the opportune time to put the making of recorded music back into the hands of the people who really love music! I can elaborate a bit if you wish..... Bruce Swedien Link to comment Share on other sites More sharing options...
Bill Roberts Posted May 6, 2005 Share Posted May 6, 2005 Look at this time in the life of the music recording industry as the opportune time to put the making of recorded music back into the hands of the people who really love music! I can elaborate a bit if you wish..... It that ever the truth and we are greatful for it. The large scale facility in New Orleans I ran was the megabucks..and this facility, hands down smokes it..reasons?? 1. More comfortable. (for everyone) 2. My Dog is here with me. 3. My longest cable is 1/20th the average of the big facility. Short runs, less noise. 4. It is home. Comfort level to stay creative and focused says quite a bit for the way things turn out. I can be choosy as well. If I want to work until 4Am..I do not have to answer to security. Bill Roberts Precision Mastering -----------Since 1975----------- Link to comment Share on other sites More sharing options...
Extreme Mixing Posted May 6, 2005 Share Posted May 6, 2005 Bruce, I'd love to hear your thinking on the subject. When I started my room, the first decision I made was that nothing is finished until I and everyone else involved thought it was. Not having the money clock always ticking has been a good thing. I am also able to get involved in some projects that I really enjoy and become a bit of a patron of the arts. That's a good feeling, because it was really the music and not the money that led me down this path in the first place. I had taken your advice, and began buying recording equipment in the mid-eighties. I only bought the things that I really liked and wanted. If you're going to bring a mic or a compressor to a session, it had better be the best one for the job, else why bother? Shortly after I bought Pro Tools I noticed that I was really only using the volume control and the chair in the studio. It was my mic, my neve, speakers, my Bryston amp... I realized that I actually owned a pretty amazing recording studio, and that all I really needed was a good sounding room and a patchbay! Steve Link to comment Share on other sites More sharing options...
Bill Roberts Posted May 6, 2005 Share Posted May 6, 2005 It was my mic, my neve, speakers, my Bryston amp Steve, if you ever have a chance to go to McIntosh precision amplification, do so at once. Brystons are nice, their is that "next level". The next level is here. Bill Roberts Precision Mastering -----------Since 1975----------- Link to comment Share on other sites More sharing options...
Bruce Swedien Posted May 6, 2005 Author Share Posted May 6, 2005 Bill Roberts sez------->Comfort level to stay creative and focused says quite a bit for the way things turn out. I can be choosy as well. If I want to work until 4Am..I do not have to answer to security. Brucie sez------->Yes, yes, yes!!!! We must not be afraid of change. Brother Bill - I absolutely love your reasoning..... 1. More comfortable. (for everyone) 2. My Dog is here with me. 3. My longest cable is 1/20th the average of the big facility. Short runs, less noise. 4. It is home. Things are changing - get used to it!!! - I think it was Toscannini who said that -"People don't know what they like, they like what they know!"' Stop moaning everyone!!! Shut up and MAKE MUSIC!!!!!! Bruce Swedien Link to comment Share on other sites More sharing options...
Lee Flier Posted May 6, 2005 Share Posted May 6, 2005 I think there are advantages to working in home studios and there are also advantages to big rooms. I enjoy my home studio but it's very sad when a big room goes away. There are very few spaces anymore that can record a full orchestra, because it's cheaper to do "orchestral" music for soundtracks, ads and bands using keyboards instead of a real orchestra. And very few home studios have the great acoustics of the better designed big studios. Not to mention the maintenance staff, and the constant interaction with other musicians, producers and engineers that happens in a big multi-room studio. I think it's fine to recognize that times are changing but there's nothing wrong with acknowledging what we are losing in the process, either. I haven't lived in L.A. for many years now but there is apparently now a trend there for studio owners to lease out their individual rooms to independent producers and engineers on a per-project or monthly basis. This helps keep the big rooms alive, and the interaction happening as lots of different people pass through there... but it also minimizes the overhead for the studio. Not a bad deal, and I hope more owners of historic rooms figure out a way to make that happen. Link to comment Share on other sites More sharing options...
Bill Roberts Posted May 6, 2005 Share Posted May 6, 2005 Sweet Lee, I found the solution. The local University has a brand new media center and they don't charge a penny to use their brand new "killer" stage. All you have to do is ask, secure the time and then put on the public radio that the event will be "open to the public". But of course, all the serious recording is done prior to the public and then we simply have a load of fun. The cost?? Whatever you want..because since you are getting a world class room for free, you are doing public service and all the while, making a killer recording, the least I can do is donate 50% of the profits back to the org. That is how the thing got built in the first place! (Plus a serious donation from the chairman of mobile oil) Bill Roberts Precision Mastering -----------Since 1975----------- Link to comment Share on other sites More sharing options...
Lee Flier Posted May 6, 2005 Share Posted May 6, 2005 Yeah we have been having fun scouting out cool spaces to track that are acoustically interesting. Of course, it takes a lot of time and planning to haul a mobile rig out somewhere and also be able to actually hear what you're getting, as you won't have a reliable monitoring setup at a remote gig, in all likelihood. Link to comment Share on other sites More sharing options...
Curve Dominant Posted May 7, 2005 Share Posted May 7, 2005 posted by Bruce Swedien: Look at this time in the life of the music recording industry as the opportune time to put the making of recorded music back into the hands of the people who really love music!YEAH, BABY!!! Eric Vincent (ASCAP) www.curvedominant.com Link to comment Share on other sites More sharing options...
BP3 Posted May 7, 2005 Share Posted May 7, 2005 Celebrate live music and those who can play! Without them, recording music is recording computers for the most part. Link to comment Share on other sites More sharing options...
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