Think about it this way: if the drums are weak, the balances are weird, the image is weird, the record has no depth, and it’s just otherwise amateurish—the things that still work even in that crappy mix are the things that really really work.
2. Figure out the key elements. This is a mix between genre aesthetic and the producer’s intentions. Listen to the record and find the “leads.” Vocals is a given. With the groove it’s usually drums, but often the bass, and sometimes a rhythm guitar or keyboard.
Figure out what’s most important to be heard and make sure those elements shine. Everything else should work towards supporting the leads. Understanding genre can go a long way here—just be wary that occasionally the producer will do something that is not customary.
3. Find the contrast. Composition has two major elements: Theme & Variation. Analogously we want: what’s important, and how it changes. The things that are consistent pull the listener in. The things that change provide excitement.
4. Find the sprinkles. Lastly, every record is unique. Find the things that give the record it’s personality. Sometimes it’s the unique sound of a lead instrument. Often there are little moments that are just very signature of the song. Identifying those things and bringing them out isn’t necessarily what makes or breaks the record (it can be though).
But it’s kind of like, if you nail steps 1, 2, and 3, you’re giving the producer an ice cream cone. If you nail this step, you’re giving the producer an ice cream cone with sprinkles.
This step can be very tough though, because sometimes the producer didn’t necessarily put all of the sprinkles there. Sometimes you have to make them up yourself by dubbing in an instrument, or using some unique effects.
Producers tend to love it or hate it when they hear that stuff—so be discriminating about when to provide your own sprinkles, and exactly what those sprinkles are.
As mix engineers we tend to obsess over how a record is sounding. But when a producer creates a reference, that person is focused on what the record is doing. Don’t focus on “sounding” when you start unpacking the reference. Focus on what things are “doing.”
And then make a list: What do you love? What are the key elements? What kind of contrast is happening? What is giving this song its personality? You and the producer will live happily ever after.
Matthew Weiss engineers from his private facility in Philadelphia, PA. A list of clients and credits are available at Weiss-Sound.com. He’s also the author of the Mixing Rap Vocals tutorials, available here.
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