![]() I think a better lesson from these is that the technical end is less important than the music itself, that a great song can surpass (subjectively) subpar engineering. And Justice For All has no bass, but that's exactly what Lars wanted. ![]() I also think it's pretty hard to separate actual mistakes vs artistic intent. ![]() Particularly stuff that was intended for different mediums - the way people mixed when they knew it would end up on vinyl or cassette can lead to vastly different decisions than digital. Things that might sound like mixing problems now might have been the right call at the time. I don't know if I like the premise of this, particularly the "bass is too loud" bit. I also think the entirety of the new Willow album sounds just absolutely terrible, and I really wanted to like that one. You can hear Norah's vocals distort any time she puts some volume behind her voice and the whole Foster mix is kind of a mess. Norah Jones' "Don't Know Why" and Foster, The People's "Pumped up Kicks" are both the demo versions - they felt something was lost when trying to rerecord so they went with the demos. RHCP's "Zephy Song" has a super obvious autotune glitch toward the end and the whole song has some noticeable artifacts if your ear is used to picking them up but not quite that bad. It's tailored to its audience - mostly drunk young women who want to dance - so of course the groove and the female vocals are loudest, and the rest is there for decoration.Īnyone who thinks this was mixed by someone clueless needs to ask themselves why it has 1 billion views on YouTube. This is not a "bad" mix unless you're expecting a party single to sound like 1970s prog rock. The EQ on most of the backing is ridiculously thin and extreme but it leaves space for the vocals - which is the point. ![]() The mids are brash and crunchy, the bass and bass drum cut through on small speakers, the vocals are full and rounded and not too compressed, there's some sidechaining to make it all fit together. It's a very middy mix designed for ipods and club speakers, with a bass drum that cuts through, a hint of low bass oomph for the club floor, and those vocals - which are supposed to be louder than the rest of the mix. ![]()
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