![]() ![]() Next-Gen Reference Track #1: “Loose” by Allen Stone Hearing how these characteristics reproduce in any given room through a system reveals critical acoustic properties such as the frequency response and dynamics of the space and the equipment. It is very helpful to play a track with sound characteristics that I am already quite familiar with. What He Listen For: What I am trying to learn and understand in an unfamiliar listening environment is the room acoustics and the equipment-mainly the speakers. I am naturally bass greedy and can’t seem to get enough of it so I try to give myself a reality check by listening to a bass reference that is extremely tight and defined but not too thin for the style.įor vocal presence, volume, and sibilance in pop:Ĭredit Highlights: Aleks Syntek, Allen Stone, Danny Brown, A$AP Mob, A Tribe Called Quest, Joey Bada$$ Different styles of music have different levels of bass energy and need an appropriate approach to sculpting the low-frequency elements and character. Even in a well-designed and acoustically treated studio you still need to make a personal creative and technical decision about the correct low frequency energy and impact in your project. There are many great examples of open and clear productions and mixes that set a high bar for clarity and space that you can refer to when working on your own mix.ģ) The infamous “low end”. This often involves cleaning out midrange clutter and resonances as well as trying to separate instruments into discrete elements that have some space around them and are more 3D in the sound stage. I am always striving to get more clarity and element separation in my work. For Pop, Hip-Hop, and Vocal Jazz projects, I feel that vocal clarity and presence is particularly important so I like to see where the vocal in my current project might sit relative to an appropriate stylistic reference.Ģ) Midrange density and ambience clarity. Here are some things I listen for:ġ) Vocal presence, volume, and sibilance. What I am looking for in a reference track is really several different things and not all tracks offer all of them for all styles of music either. Because of this effect, I sometimes like to “check back in” with a recording that I know feels good when I’m fresh and can help me stay sonically on track when I have a long day of production or mixing. In the morning I am most acute and I can hear lots of detail and subtly, but over the course of a day’s work my acuity diminishes and my high frequency sensitivity is also slightly dulled. I find it helpful to use a fixed reference point to help me even out the differences in my hearing that are present day to day and over the course of the day’s work. What He Listens For: Reference tracks are useful for orienting your ears for the day or even a few minutes. The sweet spot of Precision Sound StudiosĬredit Highlights: Thomas rhe Tank Engine rock opera Steam Rattle & Roll, 5.1 surround mixing and mastering for David Chesky’s The Mice War feature animated film mixing and mastering for remix projects with Sia, Delaney Jane, The National, and SOAK Sax and Vocal recording for Grace Kelly’s Downbeat’s #2 Jazz Album of the Year Trying to Figure It Out.Ī lot of recent production and engineering with NYC artists CHNNLL, Krychek, SIGNAL, Tsilala Brock, Ugonna Osuala, RighteousGIRLS, and more.
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