The Mental Approach to Effective Audio Mixing(Letto 55 volte)
Introduction: What is Audio Mixing for?
Many might think the answer to this question is obvious. However, both during seminars and in conversations with various industry professionals, I've encountered numerous misunderstandings regarding the true intentions of mixing. Consequently, I'll try to summarize here what I believe to be the fundamental principles of mixing.
Before diving into this topic, it is essential to underline a key aspect that not everyone seems to fully understand: the quality of musical interpretations is the cornerstone on which sound success is based, even before the mixing phase.
By “quality of performances” I mean:
- The use of high-quality musical instruments, expertly adjusted to eliminate any acoustic imperfections, such as tonal dominants, frequency gaps or discontinuities, precise tuning, dynamic balance, and the elimination of mechanical noises related to the performance, with the use of new, good-quality strings or skins.
- Accuracy in performance regarding timing, portamento and dynamic-expressive modulation.
- The pathos conveyed by the artists during their performances.
Note
While it may seem obvious, it's important to clarify that the above-mentioned problems cannot be solved during the mixing phase. Even the interventions of the most experienced and qualified sound engineers can only marginally improve these problems. To achieve a high-quality product, it's essential that both the musical performances and the instrument preparation are executed with extreme precision and care, as technical miracles are impossible.
It's also vital to understand that, while mixing can refine the sound, it doesn't have the ability to alter the playing approach or radically transform the timbre of one instrument into another with different and distinct sonic characteristics. For example, it won't be possible to convert the timbre of a jazz drum kit into one suited to heavy metal, nor will a jazz playing technique emulate a typically rock sound.
Therefore, it is imperative that the recording engineer promptly clarify such limitations with musicians, especially less experienced ones, before undertaking unachievable challenges that are bound to generate disappointing results.
This means that artistic and sonic decisions that significantly impact the overall tone and identity of a mix should be made before or during the recording stages, rather than during the mixing itself.
Definitions and Functions of Mixing
Mixing can be fundamentally defined as a process whereby multitrack audio material, whether recorded, sampled, or synthesized, is balanced, processed, and finally mixed to create an audio product accessible to both end consumers and the recording industry. This product can be presented in multichannel audio formats or, more commonly, in stereo, and recorded on digital media (magnetic tape files, CDs, or memory devices) or analog media (magnetic tape or vinyl).
A more accessible but equally crucial definition of mixing would be the following:
“The message must allow the manifestation of emotions and creative musical ideas through the high-quality performances that convey them.”
Given the significant role of the mix in determining the success of an album or a single, we can state that:
- a quality mix can intensify the emotional impact of a piece of music, making it more captivating and increasing its chances of popular resonance;
- A poorly executed mix has the power to degrade a high-value piece and severely limit its prospects for success.
With the increased use of high-quality earphones, a wide range of listeners have developed an appreciation for sound quality, making it a fundamental requirement for a mix. This is achieved by reducing sonic masking, improving definition, enhancing dynamics, balancing tonal balance and volume, and so on.
The four fundamental technical functions of mixing can be outlined as follows:
- Corrective Function:
- Correct and resolve tonal and dynamic imperfections in instruments.
- Reduce performer errors related to intonation, timing and those resulting from the low interaction (interplay) that occurs during multitrack recordings (i.e. when everyone doesn't sing and play together, but proceeds in pieces).
- Acoustic Function:
- Reduce acoustic and environmental problems that arose during recording.
- Optimizing Function:
- Improve the quality of recorded sounds through the appropriate use of tonal, dynamics and environmental simulation processors.
- Creative Function:
- Contribute to the sonic alchemy outlined by the musicians, enhancing the music, the performance intention, the expression of the piece and introducing unique and distinctive sounds, when possible.
Each function plays a crucially different role in the mixing process, each helping to refine and enhance the final sonic representation of the song or album.
Art and Technique of Mixing
Some people mistake mixing as a purely technical task, viewing it as a routine operation; some even go further, seeing it simply as a means of correcting and recovering faulty recordings.
It's undeniable that mixing involves the application of numerous techniques: balancing volumes, taming irregular dynamics, and correcting inappropriate frequencies are just some of the challenges a sound engineer will face.
However, it's good to know that, with disciplined practice, most people can acquire a reasonable mastery of the technical practice of mixing; that is, after "compressing" or "equalizing" hundreds of different audio tracks, anyone should be able to perform the task with some level of competence.
But it's crucial to understand that mixing goes beyond simple technique; it's an art where intuition and creativity play a crucial role in interpreting and enhancing the emotional message and artistic intent of the song, blending them into a cohesive and expressive harmony.
So how can we make a qualitative leap in our approach to mixing?
Dreaming of the mix
Having a preliminary vision of the mix in mind is certainly one of the main differences between the beginner and the expert: while the beginner models the sounds through trial and error, the expert first imagines them and then realizes them more or less quickly during the mixing operations, setting the technical controls with a confident approach.
Technical skills are very important, but they can be acquired. The true essence of mixing, which is its "artistic" component, however, does not reside in these skills. Many mixes are technically excellent, but nothing more; similarly, many mixes may not be technically flawless, but as a listening experience, they are breathtaking.
We could say it's a bit like a musical performer: it's because of the intrinsic creativity that goes far beyond technical balance that some mixes are highly acclaimed and their creators considered "master visionaries" of sound. The non-technical side of mixing involves creating the overall sound that envelops the music: shaping the sounds, defining the "acoustic horizons," coordinating the harmony between the elements of the sonic landscape, and building an acoustic system with a high emotional impact. It all depends on the creative decisions, talent, and "big picture" of each sound engineer: each choice will have a profound influence on how the music is perceived by the listener.
This vision can then be translated into practice through the equalization we set, the reverb we choose, the transient sharpness we determine with the compressor, and so on. Simply put: there's no right or wrong way to do things, and therefore the standard technical information acquired through experience can certainly be useful for orientation, but the path to follow must be decided and charted by each engineer individually, according to their own nature.
An acoustic guitar, a bass drum, or any other instrument can be adjusted in many different ways, and all might be considered technically correct, but in different contexts, some will be more interesting than others. A mix is like a photographic portrait of music: many different shots will always depict the same subject, but only certain angles and certain "slices of light" will be "appealing," and certainly one of them will be more so than the others. A top-notch mix is both the art of sound and communication.
A “mixing engineer” is therefore called to become a “sound artist”, because mixing is technique, but it is also art.
One of the functions of the sound mixer, as well as their greatest responsibility, is to help convey the emotional message contained in a piece of music, enhancing it; this is the first concept to acquire to foster the right approach to mixing. From the overall mix plan to the smallest nuances of reverb, an inspired use of the technical and expressive tools at the sound mixer's disposal can enhance or sometimes even create suggestions of power, aggression, softness, melancholy, and many others; or it can destroy or hinder the emotion created by the performers, trivializing and obscuring it.
It's therefore essential to understand that mixing isn't just a set of technical challenges, but a process aimed at converging toward a holistic vision of the mix, a synthesis of the expressive efforts of all parties involved: composition, arrangement, performance, and mixing, understood as a sonic construction consistent with the entire team's creative process. These considerations should help spark the light of talent in those who approach this discipline, enabling them to make a quantum leap in awareness regarding the role of the sound mixer.
Listening and Comparing Diversity
To understand the importance of uniqueness and diversity in mixing, here's an educational experiment: select a variety of tracks deemed well-mixed and, from each, consider a short representative excerpt, then create a single edit that represents a collage of all the fragments. This experiment will likely highlight the various interpretations and decisions of the sound engineers, revealing a range of sonic balances, some of which may differ significantly.
While confusing, this exercise can also be reassuring, demonstrating that enjoyable and effective results can be achieved through different approaches to sound. It highlights the importance of uniqueness and creativity in mixing and highlights how different tonal, dynamic, and ambient balances can contribute to unique and memorable listening experiences.
However, many modern and commercial productions seem to have forgotten this mission and therefore try to conform and copy each other, giving rise to a homogenization of tonal, dynamic and environmental balances.
This trend, unfortunately, is flattening the listening experience, making radio music monotonous and boring.
Diversity and innovation in mixing are crucial to keeping the music listening experience alive and fresh. The variety of approaches and styles not only enriches the musical landscape, but also highlights the artistry and creativity inherent in the sound mixer profession. This sonic diversity allows listeners to experience a variety of emotions and appreciate the richness and depth of the sound world.
Natural and Artificial Sound
In 1947, Patti Page faced a challenge while recording the song "Confess." At the time, the common practice was to record with all the performers in the same room, mirroring the experience of a live performance. However, the song called for a vocal duet and lacked a second singer. The solution was to overdub Patti Page's own voice, using the technique of bouncing from one recorder to another, since multi-track technology had not yet been invented.
This innovative method sparked astonishment and objections from many in attendance, who argued that the final product would not be natural and authentic, as it would not reflect a real situation that could be replicated in a live concert. However, this recording is now remembered as an early significant example of the use of "artificial" techniques in response to a contingent need, supported by the audio technology available at the time.
This experience marks a significant moment in the history of music recording, highlighting the tension between the pursuit of a "natural" sound that faithfully reflects a live performance and the use of "artificial" techniques to realize musical visions that transcend the limitations of a live performance. The technological revolution that followed has continued to push the boundaries of possibility, allowing artists and producers to explore new sonic horizons and create music unconstrained by the restrictions of practical reality.
The Decision Between Natural and Artificial
When we begin a mixing process, one of the fundamental choices concerns the tone we want to give to the composition: do we want all the sonic elements to be perceived as natural, as artificial, or do we want to blend these two extremes, creating a personalized sonic cocktail?
Pop music, in particular, has become a fertile ground for sonic experimentation, with the extensive use of compression, distortion, spatial effects, and other elements profoundly influencing the genre's sound. However, a growing trend toward sonic homogenization can be observed in contemporary pop music, with many producers emulating commercially successful sonic models.
Studio albums are like paintings, interpreted representations of reality, while live albums are more like photographs, attempting to capture the reality of a musical event. Those who listen to a live album expect a more natural sound, while those who listen to a studio album can expect a sonic illusion, a modeled and curated reality.
Despite the variety of techniques and approaches in mixing, the ultimate goal is always to create a pleasant and engaging listening experience. Some engineers may prefer a more subtle approach, respectful of the original sound, while others may experiment with deeper and more adventurous audio treatments. The ability to forget technical details and become absorbed in the overall composition is crucial for both musicians and sound engineers, as well as listeners, who perceive the final result emotionally and instinctively. In this context, there's room for exploration and experimentation, as listeners often respond more to the overall magic of the piece than to specific sonic details.
Imitation and Innovation in Mixing
The distinction between a competent engineer and a creative one is often evident in their propensity to experiment and conceive innovative ideas. Many opt to imitate established models, a less risky and simpler approach. However, daring to experiment with new methods can occasionally lead to significant discoveries, potentially introducing new sounds and leaving an indelible mark on musical history.
However, the success of these innovations can largely depend on context. An innovative mix that characterizes the work of a successful artist, reaching a wide audience, can solidify the engineer's reputation as a pioneer in their field. Conversely, equally valuable innovations can go unnoticed if applied in less visible or mainstream contexts, such as a local band.
Despite these challenges, a propensity for innovation remains crucial to the evolution of mixing, a field that blends science and artistic expression. This creativity and willingness to experiment can also offer sound engineers unique opportunities to distinguish themselves in their field, allowing them to emerge and make a lasting impact on the music world.
Limits of Technical Learning in Mixing
The role of the sound mixer is undoubtedly one of the most difficult to define and channel into a method of technical study of sound.
On the contrary, other phases such as recording, editing (dedicated to audio correction and assembly), and mastering, allow the implementation of criteria that, although not absolute, can be measurable and, consequently, used as standards.
This observation does not find exact application in mixing.
In mixing, the end result is what matters; it's therefore not uncommon to stumble upon a fascinating mix created instinctively, neglecting some fundamental notions of good sound practice.
During a mix performed “with an open heart”, mysterious and unpredictable alchemical solutions can arise.
Therefore, any technical-specialized course of study undertaken by a mixing apprentice should be considered:
- not as a rigid set of instructions to be followed to the letter, but as a guide for the acquisition of a basic general know-how for a mixing engineer;
- as a means of acquiring technical knowledge, to be combined with the necessary experience, and subsequently “forgotten”, to allow intuition and creativity to guide the process;
- How learning is understood in Eugen Herrigel's famous Zen-inspired book, "Zen and Archery." This work teaches that, once a disciplined course of study is completed, intuition will hit the target for us, provided it is given the space to manifest.
For more information on Digital Audio Mixing
https://alessandrofois.com/staging-a2/prodotto/manuale-di-audio-mixing-digitale/
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