The Art of Mixing

A Visual Guide to Recording, Engineering, and Production

David Gibson

• Publisher: Routledge
• Year: 2019
• ISBN:
  9781351252201
• Edition: 1
• Topic: Tecnologia e ingegneria
• Subtopic: Ingegneria acustica

David Gibson uses 3D visual representations of sounds in a mix as a tool to explain the dynamics that can be created in a mix. This book provides an in-depth exploration into the aesthetics of what makes a great mix. Gibson's unique approach explains how to map sounds to visuals in order to create a visual framework that can be used to analyze what is going on in any mix.

Once you have the framework down, Gibson then uses it to explain the traditions that have be developed over time by great recording engineers for different styles of music and songs. You will come to understand everything that can be done in a mix to create dynamics that affect people in really deep ways.

Once you understand what engineers are doing to create the great mixes they do, you can then use this framework to develop your own values as to what you feel is a good mix. Once you have a perspective on what all can be done, you have the power to be truly creative on your own – to create whole new mixing possibilities.

It is all about creating art out of technology. This book goes beyond explaining what the equipment does – it explains what to do with the equipment to make the best possible mixes.

CHAPTER 1

All Aspects of a Recorded Piece of Music

Visual 3.
The Thirteen Aspects of a Recorded Piece of Music

When I did my first album, the mix sounded great, but the band and the song weren’t that hot. When people listened to the recording, no one noticed how great the mix was … they only commented on how bad the band was. The problem is that most people don’t differentiate between the mix and the music. They hear an overall “sound” and make their judgment on that feeling. All I could do was just hope and pray that a great band would walk in the door with a great song.

However, I came to realize that an engineer’s job is more than just getting the sounds recorded onto the multitrack and mixing them down. It is also about helping the band or group with their music. Technically, this is the job of a producer. However, engineers commonly function as a producer, particularly when there is no producer in the session (and normally don’t get paid for it). In fact, musicians who have worked with professional engineers have come to expect the recording engineer to be able to give them help and feedback on a number of components of the music that you wouldn’t normally think of as the responsibility of the engineer.

You wouldn’t think the job of an engineer would include working on things like the concept of the song, the melody, rhythm, and harmony. Besides, if the music or band is bad, it isn’t the engineer’s fault; and making comments in these sensitive areas could be hazardous to your health. However, the more you can help with the music, the better for everyone – the group, yourself, and everyone who listens to it (especially those who don’t differentiate between the music and mix). In fact, the engineers who are really good at it often become producers.

Even when there is a producer, he or she often relies heavily on the engineer’s opinions. Great producers hire the engineers who are secretly great producers, who have highly refined values in regards to the music.

As you will notice throughout this book, I have been very careful in my choice of words when talking about how often engineers use specific rules or techniques. Therefore, when you see words such as “normally, usually, often, sometimes, occasionally, rarely” – you can be sure that I am trying to gauge, as best I can from my experience, how often these techniques are used. I felt that this was important, because it is my guess that most people who are reading this book are trying to gain perspective on what is common in the industry, especially those who are new to the field.

This chapter covers all of the aspects that go into creating a quality recorded piece of music – those that the producer helps to refine: intention, concept, hooks, melody, harmony, rhythm, lyrics, song structure, arrangement density of arrangement, instrumentation, performance, equipment, and the mix. All of these thirteen aspects contribute to what is perceived as a quality recording and mix. It is important to understand each of these components so that, as an engineer, you can help to refine them whenever possible.

Every one of these aspects of a song should meet at least the minimum requirements of quality. Even though each aspect is only a small part of the overall song, any single flawed aspect could taint the whole song. Even if all of the thirteen aspects are the best they can be, the chances of a song becoming a hit are very slim. If any one of these components is less than excellent, the chances for success go down exponentially. Therefore, it is necessary to critique and refine each of these aspects whenever possible.

The definition of what constitutes “good” and “quality” is extremely subjective and ever changing for each of the thirteen aspects. People often have very strong opinions; therefore, I will be very careful to refrain from making any judgments for you. Whenever possible, I have tried to simply outline ranges of values and preferences so you can ultimately make your own decisions as to which ones feel right to you. Besides, certain values might be appropriate for one song, but not another.

Use these values as a starting point for your lifelong study of people’s values in music. Then go out and listen, and base your choices on what feels right to you instead of what you think others might like. This is how you become a great engineer. Those who become obsessed with refining the thirteen aspects are called producers. Again, if you decide you want to go deeper, check out my book, The Art of Producing, which goes into much more depth on each of the thirteen aspects. Here, I’ll cover the common suggestions that recording engineers make in each area. I’ll briefly examine each of these components in order to put “the mix” into perspective – as only one component that makes up a quality recorded piece of music.

Aspect #1: Concept or Theme

The concept or theme can be defined as the combination of the other twelve components. It is not the style of music. It is the essence of the song, or the primary message. It is also known as “the mood,” “the flow,” or “the aura,” depending on your perspective. It is normally defined by the lyrics. If a song has no lyrics is often defined by the type of emotion that the song evokes. It is usually a feeling or an idea that is conveyed most consistently and strongly in the most number of aspects of a recorded piece of music.

Songs vary in the consistency or cohesiveness of the concept. In some songs, the concept is quite strong and cohesive, while in other songs it might be non-existent (although the concept could be “no concept”). Normally the more cohesive and consistent the concept, the more powerfully the message comes across. Checkout some of your favorite songs and most likely you will see that the concept of the song is supported by every musical component, as well as the mix.

Admittedly, there are some songs that make no sense at all that are incredibly cool, fun, or effective. This is because other of the thirteen aspects are just over the top well done.

As an engineer, it is important to first try and identify what the concept of the song is about. If it is unclear, you might even ask the musicians.

Then, as you get to know the song, keep an ear out for anything that is being played that doesn’t fit or support the concept. Often a part might need to be taken out or played with a more appropriate feel. For example, you point it out if a guitar part doesn’t seem to fit the “feel” that the rest of the band has already established. Or, maybe you might mention that the effect that is being used by someone on their instrument doesn’t seem to fit the “mood” of the song. Perhaps someone wants to use a sound or an effect that they heard in another song, but it isn’t appropriate for the current song. It is the engineer’s responsibility to point out these inconsistencies (with kid gloves, of course).

Also, notice how all the other aspects relate to and contribute to the cohesiveness of the whole song.

You might also suggest ideas that help make the concept stronger and more cohesive. Such detailed analysis can sometimes provide inspiration and lead to the creation of new ideas. Perhaps you might suggest repeating an especially relevant section, adding another section that enhances the concept even more. You might even work with musical parts or lyrics to make the concept more clear and give it a more profound meaning.

On the other hand, it is important to be careful to detect creative ideas of genius that could easily be misconstrued as inappropriate. Sometimes really cool ideas just may not be appropriate for a particular song and concept.

Once you know what the concept of a song is about then you can use that as your guiding light. You can then go through all of the other thirteen aspects and check to see if they are supporting the concept.

Whenever making comments about anyone’s music or contribution to a song, it is helpful to end the statement with, “I don’t know … what do you think?” This is not only considerate, it opens the doorway for the musician to give their opinion. It can also help desensitize any overly sensitive egos.

How many producers does it take to screw in a light bulb?

I don’t know … what do you think?

Aspect #2: Intention

Intention involves holding a certain energy or emotion throughout the recording and mixing process with 100% focus!

I would assume for most of you reading this (even those who have been around awhile in the business) that intention might strike you as unusual or curious. However, it has become the most important aspect in the music that I have been doing over the last 15 years.

The intention of a song is very similar to the concept of the song, but much simpler. For example, maybe the concept of a song is about a love relationship, however, the intention might be simply, “love.” Then you would hold the energy of love throughout the song. Not only would you as the recording engineer hold that energy, but you would help the band to hold that energy throughout the whole song.

Although this may sound a bit “new agey,” there is good scientific evidence to show that intention when held with 100% focus gets embedded in the music and carried through to the listener.

But even more importantly, it affects the way the musicians play. For example, if a band is enveloped in the energy of love while recording (as well as the engineer), then they will certainly play better. It often helps musicians to get “out of their head” and focus more on the energy of the song. Besides the key aspect of great music is music that powerfully evokes an emotion. The more people are in a particular emotion, the more it is conveyed to the listener.

This technique may not work so well if the song is about hate (or maybe it would … God forbid).

Meanwhile, if the intention is about something as powerful as “universal love,” or “connecting to source energy,” then a whole other level of creative energy often ensues.

Again, this also means holding that energy when performing the mix.

Ultimately, when a band even holds an intention with 100% focus when writing the song, it is even better.

I have a song called “Unconditional Love,” and I was very careful to first invoke the energy of unconditional love before I started writing the song. I then noticed my breath as I meditated. I then set the metronome in the Digital Audio Workstation program to the same tempo as my breath. I was careful to stay in that energy while writing the song and recording each part. When I had other musicians come in and play on the song, we would first do a little meditation and bring in the energy of unconditional love. Even while mixing, we all held that energy. That song is now packed with positive intention and is much more likely to invoke the energy of unconditional love when listened to.

Try it and see what you think. It may not be appropriate for every band or group.

Aspect #3: Melody

The first question to ask is whether the melody seems to be supporting the concept. It should not take away from or distract you from the concept or intention.

The next most important thing is to see if the melodies are too busy or too simple. Sometimes they might be simplified. If too simple, you might suggest making them a little more interesting, or adding some interesting effects to them to spice them up – and avoid yawns.

A person’s melody line can be quite personal. Therefore, commenting on someone’s melody line can be dangerous. People can often be attached to the melody they came up with. Sometimes, it just might be what the band or group really wants. Therefore, a little tact can be in order.

In order to avoid copyright problems, you would want to comment if you find that the melody line is exactly the same as another song.

As an engineer, you would probably point out a bad note in a melody, but it might turn out to be intentional. You might also come across a case where the band is improvising around the melody in the choruses of a song (especially in jazz). You could mention that it might be a good idea for them to go ahead and sing or play the melody line straight in the first chorus in order to establish the melody.

Aspect #4: Rhythm

Those of you who know a lot about the complexities of rhythms, or simply have beats going around inside your head throughout the day, might make some suggestions if you feel it is appropriate. There are entire worlds of rhythm that are taught in music theory classes.

However, even if you know nothing about rhythms, there is still one thing you could critique: Is the rhythm too busy or too simple? If you are falling asleep, it could probably use some spicing up. If you can’t keep up, the rhythm might need to be weeded out a bit.

Also be on the lookout for when one rhythm part is not working with another. Perhaps the guitar part is stepping on the keyboard part. If so, say something. In fact, if any part is bugging you, don’t be afraid to bring it up. If they don’t agree, let it go (unless it is really bugging you).

It is also a good idea to check out the variation in rhythm parts from section to section in the song. For example, you...