Today was a day in the studio mixing eight works of grizzly noise. I received all files (2 gigabytes) on Thursday. For every composition there were 24bit stemrenders and a reference mix.
I started by placing all of the files in separate projects and then listened all of them twice. A day of rest and an intense discussion with the client about what actually was the intention. This is very important, especially if you haven’t heard other music of this artist. “What is the creative starting point?” “Are you aiming at a dense mesh of waves? Or should we regard every sound as an entity that requires to have its own position?” After some back and forth we agreed that the latter was the case.
This gave me a clear direction but also posed a problem with some of the compositions. Some tracks were trampling on each others ground. If you have track 1 working at 150hz – 300hz, track 2 at 250-350hz and track 3 at 200hz – 450hz then you have a serious problem. Mixing a rock band is much easier, believe me.
So today I did five compositions, tracks 1-4 and 6. I can’t get track 5 to work properly. It’s a beast with three ongoing noise/drone pads. I am thinking of suggesting to let one go, in order to get a clearer picture of the sound. But we’re not there, yet. Tomorrow I’ll do tracks 7 and 8. and then get back to 5. Sometimes you just have to let go for a while.