Recording - November 2014 - 38

If you really listen to and think about why a certain mixer's
work appeals to you, your decision should become easier. How
do the drums punch? Where are the vocals in the mix? Is it a
"wet" or "dry" mix? Are the mixes sensitive to the arrangement's
dynamics?
Let's mix it up
When I mix for clients, I usually suggest doing one song for
their consideration before moving on. I charge separately for
this 'trial mix', but it can be applied to their total, should we
decide to continue.
I usually request stems in the form of 24-bit/48 kHz stereo
WAV files, but I'm often given 16-bit/44.1 kHz mono AIFFs that
work just fine. I simply prefer the greater precision the higher
resolutions and bit depths afford to the processing of my plugins, etc. (Never use MP3s except for proofing mixes, please!)
Each stem needs to run the entire length of the song from
"0:00", so that all the tracks sync up when transferred between
DAWs, etc. If the client has a sound or effect they just can't part
with, I'll have them 'print' the stems with it on. Otherwise I like my
tracks naked, thank you very much. Pro Tools and other "sessions"

can be used as well, but since plug-in collections rarely match up
from one studio to the next, it's often easier to work with the stems
anyway.
I like to be given a 'reference mix' that represents where the
client 'left off'. I'll just listen through the song a few times, getting a feel for the music. The first job on the mixing engineer's
end is identifying and sorting all of the parts. This often includes
renaming cryptically named files, grouping drum tracks, colorcoding instruments, etc. just so one can find their way around
more easily. If you're a client, work ahead to make my job easier here, and I'll repay you by being able to mix faster and more
efficiently.
I start by soloing all of the drum tracks at once, and begin to
'place' various elements throughout the stereo field, equalizing
troublesome frequencies along the way. As we continue on,
adding the bass, guitars, vocals, keys, etc., the mix builds and
certain elements will call for more attention. More compression
for the bass or brightness on those guitars... these are all 'bread
and butter' parts of the mixing process.
It's the personal touches that sort of enter in from there, like the
sense of space and dimension we begin to impart via subtle use
of reverb and delay, or add character through bold choices like
distortion and modulation. All of these options and how they are
applied can affect the music in a profound way. I liken it to building a unique world where that music organically comes from.
Mixing a song can be a very intensive and time-consuming
process, one that you as the client may not want to actually be
present for. Hearing the same four bars over and over can be
maddening, as can fighting the urge to micromanage every little move. It's better to let a mixer work in peace. When he's
reached the point where he'd like you to hear it, you can make
notes and suggestions then. This approach keeps your already
invested perspective fresh as well.

http://www.adam-audio.com http://www.adam-audio.com

Recording - November 2014

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