I've been doing a lot of mixing the past few weeks and it's looking like the rest of this month will be much of the same.
One thing I love hearing (and questioning) is when bands talk about attending mixing and mastering sessions... then asking them...
"Why? What for?"
The answer is usually along the lines of ...
"So I can help."
lol... help do what? Be honest, you want to go and hang out... and it's easier to digest (and explain to your loved ones) spending $500 or $5,000 on your project if you're in a studio and around some gear with flashing lights and stuff. I get it.
Here's the truth. Most mix and mastering engineers prefer not having people around during 90% of the mixing and mastering process... and in some cases, it's clearly reflected in their rates by charging more to attend, or less for unattended, depending on how you look at it.
Because we feel you won't get our best work if you're around... so it's a subtle way of giving you the hint.
... but... but why?
Because... well, off the top of my head, here's the quick list.
You're going to talk/make noise/ask questions/etc.
This is a sure way to keep someone from getting in the zone. Even if you think you're being quiet... unless you can sit still, making very little noise, as if you're not even there... you might as well not even be there at that point.
Side note: With the honesty box open, if you're paying hourly/daily for a studio, they might actually love having you attend. They're banking on it taking longer, you not being happy with the mixes the next day, and needing to come back for tweaks... and that's more billable hours for them.
Remember what their business is... and most traditional studios are in the business of selling studio time along with the rock and roll fantasy camp experience.
You're that person in the band looking for a free lesson.
There's obviously stuff to learn from any studio experience, but past the hobbyist curve, there's often someone in the band that wants tips and pointers on mixing, recording, production, etc, so they can attempt to do it themselves to save money... so they want to attend to learn. This leads back to the first point, where there's lots of questions and comments, and it's going to cripple workflow.
(... especially guys like myself who will gladly go through the history of whatever you wanted to know because I love talking about crap I care about!)
Sidenote: Sometimes we factor in their plan (hope) might be to take one mix/master and apply it to the rest of the songs, on their own, to help keep costs low. That's sorta like asking someone to build you one room, and you'll just use it to help build the rest of the house. How hard can it be right? I totally understand wanting to cut costs... but this is not the way if you understand the Time:Money ratio in business.
You have no idea how the speakers or the room sounds.
The bass is too loud right? That's probably because you're sitting on the couch in the back of the room. In a studio, you might be able to listen in context but you don't really know how the room/setup sounds.
I do most of my critical listening in 3 places. Chances are you have 2-3 places you do most of your listening as well. We'd rather you listen on systems you're familiar with, and get a better idea of how it stacks up against other material you've been listening to.
You need your point of reference and it's always better to listen there first, then send/bring your notes in for tweaks.
Sidenote: A personal favorite is discussing sonics, only to realize someone is making judgements on computer speakers, iPod earbuds, or sitting on the left side of their car. I know it still needs to sound like music there because many people are listening to music there... but... nevermind.
You don't have much to contribute early on.
... and by early on, I mean before the first draft ends up in your inbox.
I mean this in the nicest of nicest of ways. Just like how you probably shouldn't show people your song ideas/demos until they're in a presentable form, you should give the mixing/mastering engineer time to get things in a form they feel are presentable.
After the first draft of an album, that's when attending makes sense, if necessary.
Mixing can be a messy and odd process.
How would you feel if your mix engineer spent 45 minutes on a bass guitar sound... meanwhile the snare drum (after they've been working on the drums for a while) still sounds way too loud. It's probably going to freak you out and eventually you'll crack and make a comment along the lines of "is the snare going to be that loud in the mix?"
Again, the "quiet" thing. Please.
Yes, I admit I've sat in on my share of mixes and mastering (hanging in studios is different when you're on this side of the glass for a living... since you're often invited), but I don't question anyones process or workflow. I'm often several steps ahead while I'm working on something. It's not uncommon for me to "compress, eq, balance" several times before feeling like I have something I'm happy(ier) with.
Imagine listening to a mix for 6 hours then seeing your engineer zero the faders and start again.
Yup... glad you're paying for the mix (end product) now and not the process? This leads to what I think is the biggest reason mixers and mastering engineers I've talked to don't like attended sessions.
We're afraid to backtrack in front of a client.
Obviously past a certain point in your career you no longer care what people think... probably because those people don't question the results... but a big part of the creative process is knowing when you should undo/redo something.
Over the years I've seen (and also guilty of) some very creative approaches and explanations for backtracking when there's a client around. Bottom line, they decided, for whatever reason, to try something else... knowing full well they might even go back to what they had before... 2 hours later.
This leads to a big reality in the creative world...
Sometimes no schedule (with a deadline) gives the best results.
One of my favorite perks to mixing is I can can do it alone, whenever I want. I can work when forced too as well... but I absolutely prefer working on my own schedule for editing and mixing. If I had to wait for people to show up to start mixing, that's time/opportunity wasted in my opinion. If I feel like staying at the studio until 4am because I'm in the zone, I can, no problem!
The flipside is sometimes I'm not in the zone or not feeling a particular song/album/ep that day and I'll decide to work on something else.
Better yet, maybe I'll fire up the xbox for an hour to take an ear break, walk around the market, read some blogs, play guitar and watch a history channel doc, etc. All the things I probably shouldn't do if I have people (clients) in... well most people... the xbox usually gets turned on for vocal breaks.
... and yes I know I probably forgot another 50 reasons not to attend... and if you are on this side of the glass, feel free to submit them and I'll add them anonymously.
Don't get me wrong, we do want you to be part of the process... we need to make you happy, first and foremost... but we also want to show you our best work. If you're around, we have to do some form of entertaining and also cater to the experience you're looking for.
An awesome part of hiring a professional is trusting they'll take care of whatever you've brought them onboard for. Again, we want your input once we have a draft we feel is presetable... and we're always nervous waiting to hear back after we hit 'send' on that first draft. It's been over a decade for me now... and it still hasn't changed.
The thing is mixing and mastering is a lot like driving... especially these days where we don't need 8 hands on a console to manually automate a mix... a mix we need to nail so we can move onto the next. If you trust the driver, you're going to get to your destination so it doesn't really matter how you get there as long as it's on time and on budget... just zone out a little and enjoy the trip.
- Mike :-)
P.S. Yes I know that bridge support is actually helping the bridge... but I thought it was too funny to pass up.
Work, work, work
Bonus points to anybody who knows what tune inspired that...
Oh the things that pop into my head after what seems like months of non-stop action. I'm not complaining though, I'm having a blast on the albums and EPs that have been in the studio lately.
The downside to a full schedule is while you're working (living the dream!) and helping others, your other life (anything outside the studio) tends to gets lost in the shuffle... time flies by.
It's June... almost mid June. The last time I posted something was in early May.
I get around 150 hits a day here (either searching for my name or "so you wanna make a record") and sometimes I have to remind myself "if I leave it too long between updates, people might think I'm doing nothing." It's often the opposite looking at other producer/studio sites... unless they have a good blog... a personal one.
Anyway, even when you try to schedule gaps in, jobs pop up and you take them.
Because when it rains, you have to collect water one way or another. That's something I've learned over the years that screws up people. They don't find a way to make the opportunities work and willing to sacrifice a little... and often.
Let me clarify... this means good opportunities. Good people + fair budgets/return.
A couple months ago (there's a blog post half written about this by the way) I did a quick 2 hour talk at Durham College about my path in music. One of the questions was along the lines of "I like my sleep... how do balance staying up til 2am seeing bands/emails/research/working and then getting up at 7am to start doing it all over again?"
I held off completely laughing at him in front of the entire class, telling him whoever in the class has insomnia is going to consider it a blessing a couple years after they finish the course... but there's a very clear line in the sand the older you get when it comes to entrepreneurs... we aren't workaholics... we're inspired. When we're inspired, we keep moving... especially our brains. When we aren't inspired, we do something else until inspirado hits.
This ties in with how I view a lot of bands and artists. So many talking about working hard but they have no idea what or where the hard work really is. They get discouraged so easily when something takes too long, costs too much, or seems out of their reach. If it's worth it, you keep moving towards your goals... when it isn't... for whatever reason, smart people change their focus, no explanation needed, no apology necessary.
I'm inspired by so many around me... and I'm not just looking forward to what the future holds, but seeing how many of my predictions pan out regarding who'll also do well.
Short post I know... I should get back to work now though... these songs aren't going to mix themselves!
Mike Langford - Official Blog
Being on both sides of the glass, I get the chance to wear many hats in the music industry. This is a place to share my thoughts, views, predictions, rants, stories and news!