What makes a mix great for you?

[Sacha]

The big 3 thread got me thinking, what are the criteria for a great sounding production to different people? For me:

- Clarity between all the instruments while still being cohesive and balanced
- Larger then life tones on the instruments while not being annoying
- Great arrangements and playing will seal the deal obviously

I like having the seperation to focus on a single instrument if I want to while still having the cohesion to take everything as a unified whole.

 

[Ermz]

To be quite frank, I don't know.

I don't look for any specific element from a mix. I take it as a whole and let the mix speak its strengths to me. It's the same way that I mix. I let the music speak to me and help in mixing itself. I know this point is especially esoteric and wanky, but it is quite honestly the way I play it. By feel.

For the most part, judging from prior tendencies I would say a mix that is 'tight', in the low-end above all, is a necessity. The guitars cannot have too much fizz, or sound too much like the actual tone of the cab (since most real guitar tones sound fucked in the room). The vocals have to sink into the mix in a surreal way. Analogue processing is a necessity here. Listen to Breaking Benjamin's 'Phobia' for this. A textured/harmonically enriched high-end on vocals just 'makes them'. The guitars have to be carved in a way that lets the mix breathe. Too many mids kill the vocals and ambiance. I tend to like mixes that breathe either through pumping, automation, or some kind of dynamic movement. I like what the top-tier US guys do in that regard. Even though the guitars on 'Phobia' are too dull/flat sounding, the way the mix interacts as a whole gives it a life on its own. The bass is overpowering on some systems and sounds borderline muddy, but the overall mix still sounds tight, the drums still pop at you, the vocals are absolutely beautiful, the drum room/ambiance is still there and audible. It's at the edge of falling apart, but it's being held together by something... like he's walking the line between the wall of sound and the wall of separation. I love it.

 

[abyssofdreams]

To be quite frank, I don't know.

I don't look for any specific element from a mix. I take it as a whole and let the mix speak its strengths to me. It's the same way that I mix. I let the music speak to me and help in mixing itself. I know this point is especially esoteric and wanky, but it is quite honestly the way I play it. By feel.

For the most part, judging from prior tendencies I would say a mix that is 'tight', in the low-end above all, is a necessity. The guitars cannot have too much fizz, or sound too much like the actual tone of the cab (since most real guitar tones sound fucked in the room). The vocals have to sink into the mix in a surreal way. Analogue processing is a necessity here. Listen to Breaking Benjamin's 'Phobia' for this. A textured/harmonically enriched high-end on vocals just 'makes them'. The guitars have to be carved in a way that lets the mix breathe. Too many mids kill the vocals and ambiance.

+1 to everything, that doesn't sound like you don't know.

 

[Chryst Krispies]

Does anyone else think of pancakes as soon as they hear the word "mix?"

I know I do.

I like Chunk. And Boom.

 

[beyond dead]

my idea of a perfect mix is one that has an even spectral balance, where there is separation between instruments, and each instrument has a flattering character. I am a fan of mixes that have transparent limiting on the 2 bus, rather than those that pump a bit. I like a bit of ambient noises to fill in the sound. wonder why i like TGCD? lol

 

[Metaltastic]

I'll just say I very rarely can appreciate a mix if certain individual elements are sub-par to my ears, a big example being "Holographic Universe," where I find the guitars too thin and scooped sounding (almost Metallica-like uggghhh), and the snare has this atrocious "DUNK" sound that makes me throw up a little when I hear it Now "Pitch Black Progress," on the other hand, is a whole 'nother can o' worms...

 

[grywolf627]

This is where I differ from you Marcus. I'm just the opposite with Scar Symmetry. While I love the album Pitch Black Progress, I just prefer the sound of everything in Holographic Universe. Different strokes.

 

[Ermz]

I love the snare on Holographic! It has a certain bounce to the sound, which is great. It sounds very similar to the snare on Pitch Black, except processed to sound a bit punchier and more 'hi-fi'. The guitars on Holographic are a bit on the scooped side, yeah... I'm still not sold there, but I think as a whole the mix is better than anything they have done before. That was the album that got me working with Plec anyway, so obviously not too many negatives from my end!

 

[Torniojaws]

Yeah, the job of a mixer is to make all instruments sound as clear as possible. Once that is accomplished, then the mix must rock and have balls. And finally, and most importantly, the mix must suit the mood of the song.

 

[Jaymz]

POWER + CLARITY =

 

[Metaltastic]

What does "working with Plec" mean, Ermz? And I find the snare on "Pitch Black" to have more of a traditional snap/crack that I like; the Holographic Universe snare punches through the mix and is plenty clear, I just find the tonality to be too "dunk-y," like hitting an empty plaster tub

 

[abyssofdreams]

but hitting empty plaster tubs is awesome

this is my perfect dream snare: http://www.yellowmatterrecords.com/slate/AmbrosiaNewMix.wav

unfortunately Slate doesn't remember which blends he used there, as well as comp settings and eq

I can't get close to this.

 

[Metaltastic]

but hitting empty plaster tubs is awesome

Maybe for the guy keeping the beat for break dancers in subway stations, but I can't say I'm a fan for metal

And the link ain't workin' for me btw!

 

[abyssofdreams]

Yeah, seems like that domain isn't connected anymore

 

[slashvanyoung]

Uniqueness and "honesty" (I know, I know...) are usually important factors for me.

I can say that probably 80-90% of modern metal records that are being released nowadays don't do anything for me anymore. I appreciate the sonic quality and the craftsmanship that has been put into it... but it's simply not triggering my interest anymore.

That's where people like Bogren and (partly) Zeuss come in...

So if there's a modern, punchy and relatively clear mix that still feels "organic"... I'm probably into it.

The ONLY really over-the-top clear hi-fi state-of-the-art mix that actually happened to impress me lately with its sheer perfection, is Gojira's "The Way Of All Flesh".

 

[Metaltastic]

Wow, I'm listening to "The Way of all Flesh" now, actually (first time I've ever heard Gojira), and the production is pretty fucking cool; very raw (relatively speaking) but clear! Love the drums especially, damn!

EDIT: Not too keen on the snare though, a little too "roomy" and kinda cheap sounding IMO

 

[John_C]

i think that a great mix is one that compliments the music. Imagine Vulgar Display of Power mixed like clutch - robot hive exodus. It just wouldn't work, and the same goes for the other way around

 

[slashvanyoung]

Wow, I'm listening to "The Way of all Flesh" now, actually (first time I've ever heard Gojira), and the production is pretty fucking cool; very raw (relatively speaking) but clear! Love the drums especially, damn!

EDIT: Not too keen on the snare though, a little too "roomy" and kinda cheap sounding IMO

Listen to "Toxic Garbage Island" off that record... the beginning hits ya like a train!

 

[drew_drummer]

I just like to be enveloped in sound. I don't actually think it's always a good thing to be able to hear everything clearly. Sometimes that kills the visceral aspect that I like. But I think a mix should be dynamic, and flow just as much as the music. None of this "set the faders, and drop the master if it clips, and compress the shit out of it later on in the mastering stage" nonsense for me, thankyou!

 

[HandsOfDespair]

If it has enough cowbells