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Production trends/mixing trends - Gearspace.com
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Production trends/mixing trends
Old 13th June 2020
  #1
Gear Head
 
Production trends/mixing trends

Hi John!
Thanks for agreeing to do this.

People like Mike Senior of The Mix Review have made a living out of tracing production and mixing trends, so I'm wondering what you've noticed in recent years when you receive projects, and furthermore how you adapt to trends you've noticed.

Senior has a particularly interesting perspective in his analysis of Rudimental's "These Days," where he analyzes the frequency spectrum of the song: "significant troughs in the 150-300Hz and 3-6kHz zones, combined with boosts below 100Hz and above 8kHz." How technical are you and Serban when analyzing how a mix compares to other popular mixes right now?

Bonus: when you're doing a rock mix like the alternate mix of Interpol's "If You Really Love Nothing," how do you adapt to that? Is it the same as any other mix, or do you have to rethink your approach?
Old 19th June 2020
  #2
Lives for gear
 
TheHanes's Avatar
Quote:
Originally Posted by porgporgporg ➡️
Hi John!
Thanks for agreeing to do this.

People like Mike Senior of The Mix Review have made a living out of tracing production and mixing trends, so I'm wondering what you've noticed in recent years when you receive projects, and furthermore how you adapt to trends you've noticed.

Senior has a particularly interesting perspective in his analysis of Rudimental's "These Days," where he analyzes the frequency spectrum of the song: "significant troughs in the 150-300Hz and 3-6kHz zones, combined with boosts below 100Hz and above 8kHz." How technical are you and Serban when analyzing how a mix compares to other popular mixes right now?

Bonus: when you're doing a rock mix like the alternate mix of Interpol's "If You Really Love Nothing," how do you adapt to that? Is it the same as any other mix, or do you have to rethink your approach?
I'm a really bad Music Historian, so thanks for the link, I'm going to check that out.

I have not consciously studied the trends, so going off the top of my head, here are my opinions.

First let me say that we might be more setting mixing trends than following them; so we’re not really doing analysis and comparison to other mixes right now. We are not pulling up frequency spectrums, or making mix decisions based on technical analysis.

What I’ve noticed over the years is that the production quality is both improving and turning to ****.

Many of the really experienced (old school?) producers, and the people that they are mentoring, educating, and training are really good. Their attention to detail is exacting, specific, and well thought out. Their technical chops are generally excellent and there is not much wasted production space.

What do I mean by that? I’m defining wasted production space as using three plugins to do the work of one. Boosting 1kHz on one plugin and cutting 1kHz on the next. Nested routing decisions of no use (Kick Drum aux to Drum Aux to Beat Aux to Music Aux to Backing Track Aux to Master Bus) with plugins everywhere making it nearly impossible to breakdown a song.

On the other hand, many of the self-trained Producers, “Bedroom Producers” (another upcoming blog topic, and I love you and think that you are the future of the business!) seem to be making it up as they go, may have quite poor technical chops, and have a lot of wasted production space and unnecessary complexity.

This is kind of one reason that I’ve come to do this Q&A and the blog. I think that the self-trained Producers and “Bedroom Producers” are creating some really amazing, experimental, and leading-edge sounds; I hope that the influence of us “Old School” engineers and producers can help to encourage the experimentation while educating on easier work flows, compatibility and file delivery, and career longevity advice.

As far as do an alternate or rock mix such as the Interpol song; I think that we approach it as any other mix. Serban is being sought out to bring his sound to it.
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