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Vocal production is a creative engineer’s playground. A great singer is nearly impossible to find – just look at every flash-in-the-pan band or some of the performances that made it into TV shows (just for the humor value we get from a terrible performance).
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As you prepare to argue and tell me that I’m crazy for suggesting your mix needs less bass, take a deep breath and think about all of the fighting you’ve done with bass guitars in the past. It takes a lot of time and energy to get a decent bass tone at every stage in the recording process.
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There are many different types of compression, each with its own color or flavor that you should be using to control your mix. The best compressors are able to help you navigate the waters between those sounds.
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Some songs you just don’t want to end. There’s something satisfying about songs that sink into a groove that slowly fade into oblivion, but relying too heavily on this technique is just plain lazy.
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Can we take a time out real quick, step back, and look at what it is that separates a good mix from a bad one? At first glance, a good mix has a good amount of separation. You should have clarity between instruments.
