To my friends in the audio engineering community. I have 2 questions that are unrelated:

1) do you sometimes find a solution to a mixing problem when you're NOT in front of the console; i.e., do you find yourself chasing rabbits down holes during a mix, and then think of a solution later when you're not even listening?

2) do you think it is more important to make a band sound like they really do (IF they have excellent tone to begin with), versus keep up with trends? For example, the late '90s to recent overcompressed instruments, especially guitars and drums. Or do you think going for dynamics is the way to go. 

For the record, I am for making a band sound like they really do, based upon my excellent sound/tone caveat, and going for dynamics and depth. 

Go!


EDIT:
I suppose I should provide a sample of one of my favorite mixes I've done, so you can hear what I'm hearing:
http://www.reverbnation.c...47200-blood-roses-2012

Spindle,

I often come up with an idea while not working.  Whether it is a solution or not gets sorted out back in the studio, ususally.

 I don't ususally try to keep up w/ trends.  I suppose for some markets that is more important.  I think the old and tried standard techniques using decent equipment works - capture what is there.  Then, of course, in the mix you can play some, with old tricks or the lastest.  But if a band is any good they should need spice, not corrective surgery to enjoy.

As for my own likes - I like dynamics.  that gives depth.  When everything is pushed too hard, it squeezes all the air out of a recording.  But a lot of that is arrangement where the space is designed in, not cut out later.

@

Good, I'm glad to hear I'm of the same mindset for both, and not crazy about the first!

My guitarist is especially crazy about the HUGE compressed sounds of the guitars, and really likes '80's hair metal too.  So I'm dealing with that a bit.

I was just listening to one of the local rock stations, that play current male-fronted metal, and some of that stuff just sounds horrible on the radio.

I also refuse and am done with the loudness wars.  Seriously.  Bob Katz says it's unnecessary and I agree with him.  Last album I had mastered I told them to forget about it.  When I heard one of our songs on one of the local radio stations, it not only sounded just as loud as everything else, but had more definition.  Radio stations compress it a second time.

Anyway, if some of us don't take a stand against that swill it will just continue, and I for one, for my music personally, would rather have a body of work that stands the test of time and sounds great to the ears in 30 years.

the strength of 'a band', is the way they sound together.


if you start to force a 'sound' on the band, that is not there inherently, then you have homogenized the band.

you have neutered the band.

you have eliminated the thing that makes them unique.

if a player has honed their sound and it happens to fit a genre, then capture that sound honestly.
process it in the mix to be true to the engineering method, but don't clown-phuck a sound to fit a 'trend'.



why?

well, why would you want to sound like the next guy?

Hi, Scott. It's been awhile! Good to see you back.

1) Yes, all the time. It's a well-documented psychological phenomenon: your subconscious is always working. It's the basis for many a self-help guru's spiel. I used to have a poster hanging in my office that read "Relax. Your subconscious is working."

2) If it's intended to be a commercial product, then you have to make some concessions to your intended market. But even if it's commercial, you still have to also please yourself. If you don't, you won't derive the personal satisfaction needed to keep going. If full dynamics is what you need to hear to enjoy the fruits of your labor, then leave 'em in.

I would also point out that a) squashed dynamics is eventually going to make your song sound dated, and b) full dynamics in the current climate is a way to stand  out from the crowd.

Spindle,

radio stations have their own comps/limiters etc. as part of their own "sound".  So it ought to sound just as loud as the over compressed stuff, just not as over over compressed.  Python dynamics, when the song starts to take a breath it clamps down and squeezes the life out of it.

+1 on bit's analysis on dating and standing out for the crowd. 

a lot of newer stuff that is coming out now is not "super-loud". i just got the black keys' album, and it has a sticker on it that says "play it loud!!!" and yes, you will need to turn it up. but it's worth it.

the volume control is there, people will use it. another good example is foo fighter's "echos, silence, patience and grace" album. not the best example of dynamics mix-wise ("horizontally"), but arrangement-wise ("vertically") they were not afraid to turn it down, then turn it up. 

Bit! Good to be back! I have been so involved with work, I sometimes forget about this great place.

Good points about full dynamics enabling one to stand out.  I think I'll just continue down that path.  

My thoughts about a band's sound is this (and this is MY band). We all have our own unique sounds and together this is what makes our band what is is.  Why would I want to change that?

Thanks for everyone's comments!

spindlebox

1) do you sometimes find a solution to a mixing problem when you're NOT in front of the console; i.e., do you find yourself chasing rabbits down holes during a mix, and then think of a solution later when you're not even listening?

My best ideas come to me when I'm away from the computer.  The further away I am, the better the ideas.

spindlebox


To my friends in the audio engineering community. I have 2 questions that are unrelated:

1) do you sometimes find a solution to a mixing problem when you're NOT in front of the console; i.e., do you find yourself chasing rabbits down holes during a mix, and then think of a solution later when you're not even listening?

2) do you think it is more important to make a band sound like they really do (IF they have excellent tone to begin with), versus keep up with trends? For example, the late '90s to recent overcompressed instruments, especially guitars and drums. Or do you think going for dynamics is the way to go. 

For the record, I am for making a band sound like they really do, based upon my excellent sound/tone caveat, and going for dynamics and depth. 

Go!


EDIT:
I suppose I should provide a sample of one of my favorite mixes I've done, so you can hear what I'm hearing:
http://www.reverbnation.com/alicesweetalice/song/14247200-blood-roses-2012

Great questions there spindle. :) I'll give you my take for what it's worth.
 
Mixing solutions: No, it's been rare for me to figure out a fix when I'm away from the studio. The reason for that is, I really try not to take my work home with me. The problem with my method is, I'll stay until I figure out the issue or I'll not be able to sleep. So I try not to leave until a problem is solved. There have been a few times where I'll be lying in bed when I first wake up thinking about the stuff I have to do....and an idea for a mix I'm working on may come out of nowhere. But it doesn't happen often.
 
Bands and sounds: It depends on the band as well as what their sound is. It's hard to make a 70's band sound 90's. If they don't have the elements of "what makes up the sound of the times" you'll pretty much be wasting your time trying to get that out of them. However, if you are also hired to be "the producer" it's definitely possible to achieve, but it won't be easy.
 
See, sometimes a band may not want to totally sound like "today" but may bring you in a cd of something current. From there, you pretty much have to examine the band and see which of those elements within the current realm may be used for them or with them. It really depends though. Like, you won't make Motley Crue sound like Rascal Flatts even if they have Rascal Flatts production/instrumentation.
 
So this question is really difficult to answer. Sometimes the natural sound of the band NEEDS to be changed because they are so close to themselves and their songs, they can't tell. In my opinion, it's always best to find that happy medium of the band's natural sound as well as grabbing a bit of the cool stuff of today production wise. This way, you sort of have a sound that's familiar with a production that is current. :) It will always be different for each band though...so you have to use your judgment there. Best of luck.
 
-Danny