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There are only so many things people can get completely wrong about recording and mixing music, but I don’t think we’re seeing the end of that list any time soon.
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We talk so much about fixing dense mixes filled with walls of guitars, stacks of vocals, and thick, punchy drums that it’s easy to forget the opposite end of the spectrum sometimes.
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It’s too late. Tracking is over and you’ve lost your snare to hi-hat bleed. The drummer has gone home and there’s no budget to re-track drums. You’re probably sitting there wondering how such a rookie mistake could’ve happened when the snare sounded so good at first.
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As engineers and producers, we’re tasked to get the most we can out of the space between two speakers. Seems like a simple task, right?
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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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