why dost thou limp goode killer?
ah, well thatd be a nice sliver of porcelain in my foot sir
never mind
there is a side to music
an invisible plain maybe
a way of seeing it
yes
there are many ways to map and describe music
many different ins
everybody gets in differently
yes thats right
but have you ever thought about the mix..?
if a mix is good
you wont hear it
a mix shouldnt clobber joe listener
over the fucking head with its brilliance
cos then itd be a bad mix
a big brassy brazen overtwiddling
resulting in instant overstimulation
and subsequent boredom
you dont want that baby undercooked neither
some vapid unrealised formless jelly-mix
the real greats
they make it sound easy
sweet
real
they use all opportunities
but never blind you with the latest binglebanks
now i’m assuming you know that
a record is made
all the sounds sitting there
on their own discrete tracks
for example
on track 1 we have a hi hat
track 2 the snare
track 3 the kick drum
track 4 the crash cymbal
track 5 the ride cymbal
track 6 the bass guitar
track 8 electric guitar
track 9 electric guitar double
track 10 distorted guitar
track 11 accoustic guitar
track 12 piano
track 13 and 14 stereo strings
track 15 thru 23 vocals
track 24 tambourine
ok
the music is recorded
the ingredients assembled
now
these things must find aural space to coexist
this is not a given
certain sounds will affect others
reverbs swallow sounds
the acoustic guitars are lost in the cymbals
the voice wont cut thru
or it doesnt sit in the song right
everytime you adjust one thing
you disturb the delicate balance of everything else
its not just only volume
the sounds must have the optimum eq
eg a kick drum should have a bit of oomph
will the sounds be compressed or gated
what effects and echoes
how should it be panned?
these sonic painters
tinker with the music
on a load of levels
you will never think of
flying things in and out
bouncing things around
copy
append
truncate
slow it down
bend its pitch
auto tune it
reverse it
make it silvery
the list of tricks is endless
strange art
to be as unobtrusive as possible
then again
some mixers with their trademark sounds
thats what you pay top dollar for
that wall of sound
those teenage symphonies to god
those ambient afterimages
anyway
polinski mixes the song which will be closer on painkiller
not what you say
it breaks down into long shimmering haze of guitar fizz
everything is just right
hes done a sterling job
what else what you expect?
good boy polinski
A+