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We’re complex individuals, aren’t we? Nobody likes just a single type of music, but as engineers and producers we’re subjected to strange mismatched sounds all the time.
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When you’re excited to dive into a new session, it’s easy to get lost in all of the options available at your fingertips. If your source audio is less ideal this process might start with editing individual tracks.
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You know what I’m talking about. That balls-to-the-wall rumble that slaps you in the face and holds your attention. So many of us go for it on our rhythm guitars and bass every chance we get, but did you know you can get that same depth on any instrument in your mix with surprisingly little effort?
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When you go to try out a new guitar amp, what’s the first thing you do? For some, they’ll poke around with it timidly in the store, turning it up to just shy of the 1 notch on the volume knob. On the other end of the spectrum, you’ve got the guys that crank everything up to 10.
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Mixes without a lot of elements don’t have to sound empty or bland. I’ve hear from a few engineers going into acoustic sessions (or sessions with minimal production) that there’s not enough to work with. I call them out nearly every single time.
