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| quote: | Originally posted by Looney4Clooney
Alan meyerson mixes gem scores on headphones.
This guy is arguably the most competent engineer. On the planet making most pros look sickly.
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Sorry, but this is not true. Meyerson mixes on speakers, then references on headphones.
TBH, in all the time I had seen him work, I never saw a pair of headphones on his head, save the very odd occasion when holding a cup to one ear to check the aux mix for a drummer or player when doing recordings.
| quote: | Originally posted by Looney4Clooney
It is business. You master for your audience. Really is that simple. And producers audience should be iTunes but they seem to think djs are still relevant so you get people that mix for the club. This new thing I'm doing will have different masters for beatport. Less compression and rounder lows.
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As other people have said it's all compromise. Personally, I won't "change" my mix because someone is listening on awful laptop speakers or through the built in speaker on their phone - it's absurd to do so because the problem lies with those systems, not the intended mediums (clubs/hifis/etc) so changing the music will make it sound shit if you ever do get played on a decent system.
Of course, if I was making lowest common denominator pop like Selena, Miley or Rihanna tracks, then sure, I'd put a lot of bias towards iphones headphones and ipad internal speakers etc, but we make dance music, to be played in clubs or listen to in your car or at a party.
If that mix sounds like turd on those systems, people aren't going form e-puddles over your tracks.
Imagine all those big classic tracks that you love.
Not one of them was ever made to sound best on tiny shitty mono speaker in the back of your phone.
It's also incredibly dumb to factor in a listening medium such as that when technology is changing so fast that in 5 years, the listening forms it will have shifted again.
Translation is simply about doing a mix that will end up sounding good on as many reproduction mediums as possible.
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