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Post by gravesnumber9 on Aug 16, 2024 14:03:38 GMT -6
Specifically I'm going back and forth on whether or not I want bounces that I'm getting for mix projects to include volume automation. Historically I haven't done that but then I spend a ton of time on basic clip gain stuff that I feel like the artist could do just as well and probably faster.
On the other hand, I do like the peace of mind of knowing that I'm working with unadulterated tracks. It saves some mental space not having to wonder if there is a cleaner file I could be working with.
So this got me wondering, what do you guys ask for when you get files for mixing? This is my exact wording copied from a recent email...
"Please send me bounces of all files in .wav format time aligned to start at the same zero point. If you have a rough mix, send that too but for the tracks themselves it's usually fastest to keep those totally raw except in cases where you have synths or instruments with effects that are part of the performance (filter sweeps, etc)."
What do you guys do?
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Post by doubledog on Aug 16, 2024 14:39:50 GMT -6
I tell them that if they have a plugin on a track that is giving them a sound they like, then print it and give me both versions. Last couple clients sent me 2 folders of tracks - one raw, and another with the tracks that were committed. Worked great and I usually use the tracks that were committed and just clean them up a little. I prefer to do this unless the client is specifically asking me to change the sounds (after all they have been listening to it that way for some time and whether they admit it or not, they are many times married to that sound for better or worse). I tried to change a really abrasive guitar track once and the client didn't like it (and I mean it was really ear piercingly bad, but that's what ended up in the final mix albeit with a little turd polishing)
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Post by andersmv on Aug 17, 2024 6:03:41 GMT -6
Ya, this is always a “case by case” thing for me. I tell people that I generally don’t like to have EQ and Compression on tracks, definitely no limiting. If they’re making creative choices with effects, I actually prefer that they print them on everything but vocals and drums. On those two things, I ask them to print the dry tracks, along with a completely wet track of the effect they’re using. You almost always need control of the blend on those things so you can process the dry track separately. I learned a long time ago that everyone has listened and tinkered with their song over and over again, there’s no use trying to recreate effects they’ve spent time on and are hooked on. They usually complain when you do something different and “want it to sound more like the demo”.
If someone is super set on keeping everything on the tracks, I don’t have a problem if they’re professionals and aren’t overcooking things. Committing isn’t always a bad thing. If I get the files and it seems like too much and they’re not compromising, I usually offer to do a “stem mix” for them where they just bounce out like 8 stereo stems and I do a more complicated master on it by running it through the console and some outboard gear and do some small tweaks.
It’s always tough figuring this out with new clients. After the first one, I find you usually figure out a good balance that works for each person.
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Post by nobtwiddler on Aug 17, 2024 9:52:20 GMT -6
MONO files, unless actually recorded as a stereo capture!
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Post by jeremygillespie on Aug 17, 2024 10:04:41 GMT -6
If they are on pro tools I just ask for the session. That can be a can of worms but I’d rather make sure fades are properly in place so I can clean them up and make sure there aren’t any clicks and pops that I’ll have to deal with on a printed track.
If not in PT, I just ask for consolidated tracks from the same zero point in their session. I want mono files unless it’s an actual stereo track. For a long while if the tracks were coming from logic I was always getting stereo files which is a big pain in the ass especially if it’s not an actual stereo track. Many times I’d get a stereo rack Tom track or a stereo floor Tom track which was always odd to me.
In addition to the raw tracks I always ask for any fx tracks to be printed separately especially if they’ve been living with that sound for a while. Specific delays or what have you on an electric guitar track for example.
Always request a rough mix so you have some idea of what they are going for as well.
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Post by gravesnumber9 on Aug 17, 2024 14:41:08 GMT -6
MONO files, unless actually recorded as a stereo capture! Oh yeah, good call. This drives me crazy. I almost always have to convert half the tracks back to mono in order to add outboard effects. |
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Post by gravesnumber9 on Aug 17, 2024 14:42:29 GMT -6
Ya, this is always a “case by case” thing for me. I tell people that I generally don’t like to have EQ and Compression on tracks, definitely no limiting. If they’re making creative choices with effects, I actually prefer that they print them on everything but vocals and drums. On those two things, I ask them to print the dry tracks, along with a completely wet track of the effect they’re using. You almost always need control of the blend on those things so you can process the dry track separately. I learned a long time ago that everyone has listened and tinkered with their song over and over again, there’s no use trying to recreate effects they’ve spent time on and are hooked on. They usually complain when you do something different and “want it to sound more like the demo”. If someone is super set on keeping everything on the tracks, I don’t have a problem if they’re professionals and aren’t overcooking things. Committing isn’t always a bad thing. If I get the files and it seems like too much and they’re not compromising, I usually offer to do a “stem mix” for them where they just bounce out like 8 stereo stems and I do a more complicated master on it by running it through the console and some outboard gear and do some small tweaks. It’s always tough figuring this out with new clients. After the first one, I find you usually figure out a good balance that works for each person. What about volume automation? |
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Post by doubledog on Aug 17, 2024 14:56:33 GMT -6
MONO files, unless actually recorded as a stereo capture! Oh yeah, good call. This drives me crazy. I almost always have to convert half the tracks back to mono in order to add outboard effects. unfortunately, it seems like the ones that do this usually don't even know they did it, so asking them not to do it is sometimes a fools errand.  |
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Post by gravesnumber9 on Aug 17, 2024 15:00:52 GMT -6
Oh yeah, good call. This drives me crazy. I almost always have to convert half the tracks back to mono in order to add outboard effects. unfortunately, it seems like the ones that do this usually don't even know they did it, so asking them not to do it is sometimes a fools errand. You're not wrong. Oh by the way... I all but BEGGED a friend of mine to hire you to replace his drum parts instead of what he's going to do which is to have his sub-par drummer take another hack at this otherwise high quality demo they're doing. No dice. So far I'm 0 for 2 in trying to get people to outsource their drums to your studio. Man... I guess good music is less important than hurt feelings. I get it if it's like a band band... but this is a singer songwriter type dude! Oh well... way off topic. |
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Post by doubledog on Aug 17, 2024 15:04:38 GMT -6
unfortunately, it seems like the ones that do this usually don't even know they did it, so asking them not to do it is sometimes a fools errand. You're not wrong. Oh by the way... I all but BEGGED a friend of mine to hire you to replace his drum parts instead of what he's going to do which is to have his sub-par drummer take another hack at this otherwise high quality demo they're doing. No dice. So far I'm 0 for 2 in trying to get people to outsource their drums to your studio. Man... I guess good music is less important than hurt feelings. I get it if it's like a band band... but this is a singer songwriter type dude! Oh well... way off topic. appreciate you trying! |
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