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Whether you’re mixing for a local band or a major label, some things just don’t change. As the mix engineer, your tools are going to stay relatively similar, regardless of the session size or budget. While there are some obvious differences between a major studio’s outboard gear and the plugins on a laptop, we’ve only got a handful of processes that are used to create every single mix.
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Do you struggle finding the right place to sit your bass guitar in a dense mix? It’s a tough instrument for a lot of engineers. While a lot of instruments fight for definition in the mid-range of the frequency spectrum, bass stretches toward the depths of your mix, encompassing frequencies shared with your kick drum, while still sharing a lot of its range with low-mid focused instruments.
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Guitar solos are one of those things that you can never have enough of. Over the top shredding finds its way front and center in tons of rock & metal songs, as well as nearly every other genre that supports a bit of face-melting.
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What’s the largest session you’ve ever worked on? 50 tracks? 100 tracks? 200? At what point do you start losing individuality between the tracks and start muting instruments for space?
Echoes and delays can sound amazing when used in the right context, but what do you do when they’re muddying up your source audio track?
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