Surfing the net at work every day!Throws like a girl
Join Date Jan 2007
Location Milwaukee, WI
Re: Tricks you use to add excitement
Since you said TRICKS...
On upbeat tunes I still use a trick Harvey Gerst passed on which is putting a cowbell ahead of the beat but down in the mix to where you can just barely hear it. I find it a funny one, It is almost impossible to hear, but when you mute it, it seems the song slows down a bit. I like using it when the chorus first kicks in or after the bridge at the end of the song.
I always begin each session by getting nude and dancing this wiccan reminiscing, intense, sort of mental asylum inspired set of impossible body movement to infuse a beefed up version of induced holy awesomeness packed up in neat surroundings cutting through the edge of seemingly multiversal tendencies stretching across the room towards the material I'm about to mix.
If there is no excitement to begin with - it's hard to induce it. It can be enhanced if it's there - but hardly created. Well - it sort of may. That's called Skrillex, Avicii and SHM.
Ambidextrous OnanistReads Playboy for the articles
Join Date Nov 2006
Re: Tricks you use to add excitement
I like everybody else's answers so far. But you could also try adding delays. Try them on anything. Long short subtle obvious. I've seen it work wonders when you stumble on the right one on the right part.
"If you don't try new things you will miss out on many of life's great disappointments."
CAPE Teams: MIXERMAN SPIRIT ORGANIC TWANG NOCTURNE AZRAPHAEL BIGBANDTHEORY HORIZON GREENROOM BARRICADES
If I get something that sounds unexciting and am prevented to Aardvark it, (well - I am my own Aardvark now since I don't record/mix others any more), I'd say tamper with the timing. Even if to shuffle small parts around until it resembles tightness.
A song that sucks will at least be bearable if it has a traceable rhythmic pattern.
Boy am I glad my own production has no budget roof. Hence nothing is too expensive/takes too long. Still I wish for more IRL cooperation. Eva has turned out to be a better producer than I am which is a double blessing, though.
Well, the project takes too long. And feels overwhelming at times. But we get there - inch by inch.
I always listen to what's there in the song. I might lift something (bass, guitars etc) to offset a certain song section from the others. If a band starts all at once (be it a song start or section after pause) I found it is very important to line up everything. There usually be some string noises or somebody would start ahead of the beat, and those things reduce impact significantly. And I often lift that first drum hit quite a bit.
Someone, Weedy I think, mentioned raising the master fader a decibel during the chorus.
When you get to specifics it depends on the song. The producer should be saying she needs a little more of this or less of that for the intended arrangement. Oops, no producer? Tag, you're it!
If something is significant in the mix I don't want that element buried. There was a song in which the ghost hits on the snare drum really helped to propel the song but they were getting buried under the rhythm guitars. I think I wound up changing the drums mix, lowering the guitars slightly, EQing and riding the fader on the snare.
In another song there is a 2 second long guitar riff, the only thing on 2 separate tracks, that leads into the final pre-chorus. It's significant enough that if I want to hear it above the rhythm guitars. BGVs start just where it ends. I'm actually in the middle of working on that, but some combination of automating the rhythm guitars and the riff, maybe using EQ, maybe adding some delay.
Step one: identify which elements add excitement at which time
Step two: emphasise those elements
The arrangement should already be there in the tracks. Unless it isn't. Or something.