13-01-2014, 01:19 AM
I am self-taught both in video/film editing and audio engineering, having been experimenting with audio and video since my teen years back in the 1980s.
My guiding principle in mixing I call the "principle of least treatment."
Having heard the crystal clean sound of CDs from the earliest days of consumer digital sound in the 80s, comparing it to the overprocessed, overcompressed mess many commercial mixes are today, I have come to believe that current mixing techniques rely too heavily on processing, particularly in the use/abuse of compression in mastering.
In general, I go as gently as possible on all processing, using only the minimum EQ, automation and compression necessary to get everything to blend smoothly, and under no circumstances do I EVER apply processing or compression of ANY kind at the mastering stage; my goal is to preserve 100% of the dynamics of the original recording.
I joined this forum in order to get all of YOUR thoughts on what I've done with these multitracks. Criticism is welcome so long as its polite and constructive.
Now, having said all that, Al James' "Schoolboy Fascination" presented a unique challenge for me. I TRIED to do a static mix on it but upon hearing it I realized this mix was going to be one of the exceptions to the rule. While I still kept compression and EQ to a minimum, I automated the H-E-double-hockey-sticks out of this thing; this project has, by far, more automation than ANY other mix I've done.
This mix, therefore, is proof positive that I have no compunction about using automation if it is appropriate. In the case of this mix, there was just too much cool stuff going on with the arrangement that would be lost completely if I limited myself to a static mix. After many hours of tweaking, weaving and dancing the tracks in and out amongst each other to bring out the best moments, I finally came up with the mix you're about to hear.
One thing I'll say about this song, technical approach notwithstanding, it's seriously catchy. I tend to get it stuck in my head every time I hear it. Which is a very good thing, if you ask me. I LOVE this song. One of my favorites of all time from this site. Which is why I'm so pleased my mix came out so well, and I was more than happy to do the extra work on the automation to make it really shine.
My guiding principle in mixing I call the "principle of least treatment."
Having heard the crystal clean sound of CDs from the earliest days of consumer digital sound in the 80s, comparing it to the overprocessed, overcompressed mess many commercial mixes are today, I have come to believe that current mixing techniques rely too heavily on processing, particularly in the use/abuse of compression in mastering.
In general, I go as gently as possible on all processing, using only the minimum EQ, automation and compression necessary to get everything to blend smoothly, and under no circumstances do I EVER apply processing or compression of ANY kind at the mastering stage; my goal is to preserve 100% of the dynamics of the original recording.
I joined this forum in order to get all of YOUR thoughts on what I've done with these multitracks. Criticism is welcome so long as its polite and constructive.
Now, having said all that, Al James' "Schoolboy Fascination" presented a unique challenge for me. I TRIED to do a static mix on it but upon hearing it I realized this mix was going to be one of the exceptions to the rule. While I still kept compression and EQ to a minimum, I automated the H-E-double-hockey-sticks out of this thing; this project has, by far, more automation than ANY other mix I've done.
This mix, therefore, is proof positive that I have no compunction about using automation if it is appropriate. In the case of this mix, there was just too much cool stuff going on with the arrangement that would be lost completely if I limited myself to a static mix. After many hours of tweaking, weaving and dancing the tracks in and out amongst each other to bring out the best moments, I finally came up with the mix you're about to hear.
One thing I'll say about this song, technical approach notwithstanding, it's seriously catchy. I tend to get it stuck in my head every time I hear it. Which is a very good thing, if you ask me. I LOVE this song. One of my favorites of all time from this site. Which is why I'm so pleased my mix came out so well, and I was more than happy to do the extra work on the automation to make it really shine.