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"Making It Sit (Not Your Dog)"
When it comes down to it, your final track is just a mix of different sounds arranged in time and space. Many producers, myself included, tweak for hours on end making those unique sonic signatures that define �their sound�. So, it only stands to reason that one should take every measure at his disposal to make sure all of those sweeps, beeps, warbles and swirls are heard within the context of the mix.
So, what are the common strategies to go about making all of these disparate sounds sit in the mix?
The following are the primary means by which this is accomplished:
1. Filters e.g. High pass, bandpass, lowpass, band-reject, comb, formant
2. Equalization
3. Panning
4. Other miscellaneous but important concepts
I once heard Nick Bracegirdle say he did little EQ for �Don�t Give Up�. This was at a time when I was trying to make every sound in my mix as big as possible. When I thought big and fat, I thought of rich, full-bodied sounds, and we all know that reaching for the LP filter is one way to acheive robust leads and warm, sweeping pads.
But.....
As we all have hopefully learned by now, making a handful of big sounds, even if they complement each other tonally, and throwing them in a mix makes for a sonic nightmare and an unmigated muddy mess of a track.
So.....
(to be continued tonight)
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Business is very food.
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