Mixing jazz and orchestral recordings takes an opposite approach. It might borrow from soul, house, or hip-hop, and this means you should adjust your approach accordingly. It's also worth mentioning that pop, like many other genres, doesn’t have just one sound. To get this kind of consistency to translate in the loud places we listen to pop-in the car, on public transport, and in public spaces-some pretty considerable dynamic range compression is required. The vocal is almost always front-and-center, the kick and bass always powerful, and supporting elements need to be as tight as possible. When mixing pop music, we strive for polish. Even if it seems obvious, skipping this step might land you with a mix that doesn’t fit the expectations of the music at hand. Consider the genre and listenerīefore pushing faders and slapping compressors on every track, make note of the style of music your mixing and where it will be listened to. To find the right balance, here are five mix tips to improve dynamics. Dynamic range is one of the trickier areas of mixing, since we want to maintain natural dynamics, but also sound focused and tight in a way that’s appropriate for commercial audiences. The difference between these two points is what’s called the dynamic range, and as mixers, it's our job to decide whether we should reduce or expand it. To bring more emotion to a performance, musicians will play certain sections softly and others with more force.
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