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Creative Commons
If you want to know about IP law - this is the place. CC is defining the cutting edge of music licensing. -
David Byrne Journal
Stop making sense David Byrne. Seriously, you make too much sense to us - it's scary. When are you coming by to hang out? -
Create Digital Music
Fairly relevant to Indaba :) -
Hypebot
If you want to know what's happening in the new music world... -
Wired Epicenter
Wired + Music + Eliot = amazing -
Underrated Magazine
Our favorite NYC music-scene blog from our favorite CMJer. -
StereoGum.com
Super-hip music blog. A must for anyone serious about the NYC scene. -
The Daily Swarm
ll the news that fit to print ... about music, that is. -
Idolator
Gawker Media's music blog. Perfect if you like a little snark with your music news. -
Lefsetz Letter
In his own words - "First in music analysis"
Monday October 06, 2008 at 04:00 PM |
The Art of Mixing (Part 4 of 4) by Josh
This week, I’m going to finish up the series with the last element of a good mix, interest (making the mix special). Check out Part 3 for pan and dimension and dynamics, Part 2 for balance and frequency range, and Part 1 for a general primer on mixing.
Interest is often the most elusive element of a good mix. Oftentimes, mixers fully address the previous five elements (dynamics, frequency, balance, panorama), but the final mix still sounds flat, lifeless, and un-interesting.
A mix needs to have something special that captures the interest of the listener. How many times have you heard a song with relatively simple, straightforward parts, but somehow felt an emotional pull or connection that made you want to listen over and over again? Especially in popular music, the mixer plays a crucial role in creating the emotion and excitement that makes the song a hit.
Creating excitement and interest in a mix is often a tough feat to accomplish. One tip is to view the song as a movie or story. There needs to be moments of tension, a build up that results in an emotional climax, and resolution. Use compressors, volume change, pan, and other tools to create subtle or dramatic rise and falls throughout the song.
Here are several tips that Bobby Owsinski offers in his great book on mixing and the main source for this blog series, The Mixing Engineers Handbook:
- Find the Direction of the Song: This is the first thing that a mixer needs to decide. If the song is going in a folk direction the mixing decisions will be different than a rock, pop, hip-hop, or country song.
- Develop the groove: Every piece of music has some sort of groove or pulse. Find what instruments define the groove (Hint: It’s not always the drums) and develop the song around that element.
- Emphasize the Most Important Element: In many songs, there is one element that is just as, if not more important than the groove. For instance, in a Mariah Carey song, the vocals are clearly the focal point and need to be treaded as such. The vocals are not always the most important element, however. An example would be a guitar driven garage band that puts more emphasis on loud electric guitars than the vocals.
I hope this information on mixing helps you guys with your mixes here on Indaba. Like any art, the most important skill is to find your inspiration and trust your instincts. If something makes you excited, don’t worry about whether or not it is the “technically correct” way – your ears and instincts are much more valuable than meters and rules. Happy mixing!
Monday October 06, 2008 at 10:12 PM
I learned about what you call 'interest' the hard way. I started my mixing career at a club during the ska explosion in the late 90's/00's, and that was crazy. You'd have a vocalist (s), bass player, drummer, a horn section, and maybe a keyboard player and/or percussion player. You had to be constantly paying attention to who was taking the lead, which could bounce all over the stage.
Even worse though was a band called Dog Fashion Disco. They started out as more of a ska band and morphed into a band that sounded a lot like Mr. Bungle. It was circus music meets metal, and it was insane trying to follow everything going on.
But ultimately those skills payed off down the road, and in my electronic-based music there are often times a lot of instruments going on at once. The key for me to pull out stuff is to use the automation in Logic, and also through the programming of the various soft synths that I have.
Monday October 06, 2008 at 10:21 PM
Yeah, it's especially hard to maintain the "interest" and focus in a live setting - it's a whole new ballgame when everyone's up on stage.
As for Logic, it makes automation and effects much easier and intuitive than it used to be - for sure.
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