The vocal synth has a slowly opening low-pass filter during the last 8 bars of each verse. The hi-hats in the chorus open up the sound and give a dramatic lift to the high frequencies. The verse has quite tame high frequencies with the focus being the vocal, kick and bass. It sounds great in the context of the whole mix, but some frequencies disappear when heard in mono. The image below shows what happens when you push sounds super wide. It’s soloed during the intro so I was able to zone in and uncover how much phasing was going on. The widest element in the mix is the Vocal Synth which is what has the most obvious phase issue. Listening in mono certainly changes the mix considerably. As you can see from the image below, LEVELS is showing that the correlation during the chorus is right on the brink of phase issues becoming a serious problem. The majority of the channels have energy in the mids, so the mixing engineer has had to use the whole stereo spectrum to give each element it’s own space. The kick and bass have no obvious volume automation from verse to chorus. The kick is pure mono whereas the bass is mixed slightly wider which gives some separation to the two channels. The kick is slightly louder than the bass in the balance of the mix and has a slightly higher frequency range. Both the kick and the bass have a short and punchy character and they almost glue together as one sound. The only times they’re not in the arrangement is during the 4 bar intro and the 8 bar bridge. The kick and bass drive throughout the whole track at a pretty constant level. This track is mixed super wide! There’s a build-up of instruments from 200Hz to around 5kHz, so to give each element it’s own space, the stereo width has been utilised. Let’s look at how Ghenea has placed each element in the frequency spectrum and in the stereo field. Too many layers will eventually give you a bloated sound and your mix will suffer.ĭuring the busiest sections of the track, there are about 9 elements playing simultaneously. Perfecting a single sound will often give much better result than adding layer upon layer. Next time you’re sitting in front of a mix with 90 channels, ask yourself if simplifying the arrangement would give you a better result. The track’s arrangement can be broken down into 10 main elements (counting the backing vocals as one). This simplicity helps keep the musical ideas simple to digest which adds to how memorable the track is. These three elements are embellished by the secondary channels that come in and out of the track to add contrast between the sections and to keep the listener engaged. This track is led by the vocals, bass, and kick, which are heard almost constantly throughout the track. Serban and Randy are credited with some of the most successful releases in recent years.īy taking a really close look at how these ‘hit maker’ engineers approached the track we might uncover some ways we can improve our future productions. The track was mastered by Randy Merrill, one of the senior mastering engineers at the highly acclaimed ' Sterling Sound' studios.
I chose this track as it was mixed by Serban Ghenea, who is currently without a doubt the most sought-after mixing engineer in the world. In this blog, I’ll be analysing the track My My My by Troye Sivan.
0 kommentar(er)
