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When I mix alone, I prefer to be by myself
Old 17th April 2003
  #31
Gear Addict
 
audiogeek1's Avatar
 
🎧 15 years
Quote:
Originally posted by theunity
would it be wrong of me to refuse to give out session "rough mixes" at the end of the night?
I usually give out roughs at the end of every session. Most of the time it is so the artist can prove to his girlfriend where he has been and where her money is going. I do not do much label work around here.

As far as roughs go the first night I explain that the balance is not the final balance of things but it gives them an idea of how their performance is so we can fix that and the balance of everything will be done when we MIX.

Mike
Old 19th April 2003
  #32
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Excellent, I love the way this thread developed.

Very good points made by all!
Old 21st April 2003
  #33
member no 666
 
Fletcher's Avatar
 
🎧 15 years
I like the artist/producer to be in the neighborhood and come by from time to time so I can make sure I'm heading in the right direction... once I have a couple of mixes printed... then I like them to come in and help **** with it... sometimes the stuff they'll come up with in addition to what I have going will take the thing over the top... other times they'll come to the conclusion that one of the 'earlier prints' was indeed the best presentation of the product.

Either way... we have a bunch of stuff from which to choose, and sometimes we can cut the various stuff together to really make a presentation of the product that captures all of what the product has to offer.
Old 21st April 2003
  #34
Founder
 
Jules's Avatar
I prefer the one good mix, not many different ones.

Engineer I trained with used to rub out 'out takes' so as record co mooks couldnt get it wrong when it came to mastering...etc..

Hey I am going to post a pol on the subject!

Old 4th April 2009 | Show parent
  #35
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Have you changed your mind after all these years?

Mixing with the artist/producer can be very enjoyable, but I think I can get more done in the same time frame by myself.
Old 6th April 2009 | Show parent
  #36
Gear Addict
 
thedoner's Avatar
 
🎧 10 years
As said above. I prefer to mix alone, with the client within shouting distance in case I need to run something by them. Then, when I'm almost done I can call them in for tweaking.
I recently had a client at my place, who's a close friend. I got up to go to the bathroom, and when I got back he was in the hot seat changing an eq setting. That was nearly the end of our friendship...ok not really, but I was seriously pissed.
Old 6th April 2009 | Show parent
  #37
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Yeah, that is not acceptable, especially when it wasn't worked out ahead of time.

Very bad move on his part.
Old 6th April 2009 | Show parent
  #38
Gear Guru
 
joelpatterson's Avatar
 
2 Reviews written
🎧 15 years
With groups doing a "studio" production, I am just as happy to have them around, flopping on the couch, amusing themselves, always near... I find I can just "tune them out" for the initial setting of levels and organizing the "hierarchies of compression" but it's nice to be able to grab their attention and say, "hey, these background vocals, how background and how vocal?"

And then as the evening wears on, you really do need to check to get mini-approvals about this or that automation, length of fade, "taste" calls that could go any of several different ways.

What I really like is the sense of awe that fills the room as their rough tracks coallesce into true, emotion-laden music... generally I turn to see them nearly weeping with joy, and I would much rather them know this stuff doesn't just happen, it progresses step by step...

For the orchestral stuff, I would find it hard to convey to the music director or producer what precise subtle terrain I'm trying to traverse when I bury my head between the nearfields and gauge how effectively it's all coming across. Mixing concert recordings is always a multiple-choice series of compromises, and I would worry they might say, "Yeah, sure, that's fine the way it is" when I know there are vast networks of nuances that need jiggering. It's a very personal thing, the "effect" you're going for. Everyone can "see" it when it's done, but finding the pathway of how to get there is unavoidably a lonely, treacherous ordeal.
Old 6th April 2009 | Show parent
  #39
Gear Addict
 
thedoner's Avatar
 
🎧 10 years
Quote:
Originally Posted by joelpatterson ➑️
With groups doing a "studio" production, I am just as happy to have them around, flopping on the couch, amusing themselves, always near... I find I can just "tune them out" for the initial setting of levels and organizing the "hierarchies of compression" but it's nice to be able to grab their attention and say, "hey, these background vocals, how background and how vocal?"
Ah...Grasshopper...... You honor us with your zen-like level of concentration to tune out background chatter while mixing. That would drive me batty.
Old 7th April 2009 | Show parent
  #40
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joelpatterson's Avatar
 
2 Reviews written
🎧 15 years
Quote:
Originally Posted by thedoner ➑️
... would drive me batty.
It's the inappropriate "meddling" that's the batty driver-- when they blurt out, "Hey! I can't hear the bass!"-- so rather than say, "Yeah, I muted it so I can concentrate on the guitar for a second," I just kind of mumble, "Ah... we got to work on this other thing right now... we're kind of a few hours away from really getting it all put together, say did you see the Rolling Stone on the table there with the nude pictures of Kate and Ashley Olsen?"
Old 7th April 2009 | Show parent
  #41
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thedoner's Avatar
 
🎧 10 years
Quote:
Originally Posted by joelpatterson ➑️
It's the inappropriate "meddling" that's the batty driver-- when they blurt out, "Hey! I can't hear the bass!"-- so rather than say, "Yeah, I muted it so I can concentrate on the guitar for a second," I just kind of mumble, "Ah... we got to work on this other thing right now... we're kind of a few hours away from really getting it all put together, say did you see the Rolling Stone on the table there with the nude pictures of Kate and Ashley Olsen?"
Funny shi*t as always Joel! So much of it really does come down to psychology, doesn't it?heh
Best
-GD
Old 7th April 2009 | Show parent
  #42
urumita
 
7rojo7's Avatar
 
🎧 15 years
If I have to tune, clean or start moving things that for a 'mix' should have already been done, I stop calling it a mix session
I like to LEARN the song with the artist then be left alone
At this point, I only need to get to the many 'fine' points and doesn't take that long.
Learn the song, start with the vocals and bass, these are the 2 most important power elements, the rest falls in pretty quickly
various genres need various tricks and treatments
I've been burnt by the badass mofo attitude and relent from being one, as it is they that need to be that.
I find that if the arrangement is good, the rest is easy, I find that I'll have to put up a mic and get some kind of other instrument involved for some call and response vibe on the outro or maybe a tamborine or shaker hihat or cymbal ods, not much of a mix but with total recall
Hard to make more from something that's not
DUB tricks, can't teach an old dub to do new triks
Old 7th April 2009 | Show parent
  #43
Lives for gear
 
The MPCist's Avatar
 
🎧 15 years
I usually start by myself and the clients come in when it's about 80% done and I do the 'tweaks' that they want.

That's the 'fast' way.

More and more, clients want to live with the mix while everyone from their dog to their managers to their assistant's girlfriend gives their input.... heh So, in those cases, I'll mix it and give them a few days before recalling the mix.
Old 7th April 2009 | Show parent
  #44
Lives for gear
 
Chaellus's Avatar
 
🎧 10 years
i like mixing alone
Old 25th August 2019
  #45
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
I still prefer to mix on my own. What say you?
Old 25th August 2019 | Show parent
  #46
Lives for gear
 
🎧 15 years
I tell clients that there is no point in them hanging out and watching the paint dry. I'll call you in when I have something presentable. On films anymore we send a few demos with picture that they can watch in their own edit rooms and get used to what I've done before we bring them in here.
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