OK, so how do you mixing Pro's stand it!

  • Thread starter Thread starter Michael Nadolski
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Michael Nadolski

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Its a rare occasion that I'll track and mix other bands music. Unfortunately, I have this mix to do of a band that 1) is not that good, and 2) I can't stand their music. (Mostly, they're not that good because I can't stand their music.)

I am used to "dynamic" type music, thus I enjoy the challenge of mixing my own songs. With this s**t, all it is is screaming loud vocals (if you can call it vocals) that make you cringe and all distorted guitars that have no talent behind them. I can create a better mix out of a steady white noise generator.

I have this urging desire to pull up the faders and heavily compress the entire mix and let it run by itself while I leave the room!

How do you pros who do this for a living deal with garbage music, even if it pays the bills?

Back to reality, how can I mentally approach mixing this stuff?

Mike
 
It seems that when I start working with a band I get pulled into their band thru the creative process. Even if I don't care for the style of music I kind of start to like the songs because I know my contributions are making them better than they were before I got my hands on them. Only rarely is a band so bad I can't get into them, but it happens.
 
I don't know about the others....

...but for me, I have the luxury of being a bit selective about the clients I take on. If their music is just too far removed from my own sense of musical quality and ability, I just say "no..."!

On the other hand, one of my clients now is working on an industrial metal type of CD (not sure what the going buzzword is for that particular style). It's not what I normally listen to, but that doesn't matter - I simply asked the client to provide some commericial examples of the style and sound he was going for, and when mixing, I use those samples as a reference. Works perfectly!

As far as lack of talent or musicianship, I must admit, I'm fairly to-the-point with an artist if a take or track didn't make the grade. At least to some degree, you can fix a bad-sounding track in the mix, but you can't fix a bad performance. If the artist wants to immortalize a work with a crappy performance, that's when it starts to really bug me. Thankfully, I haven't encountered that situation yet...

Bruce
 
I really know what you mean. Wouldn't have a clue about what to do if one of those silly local bands asked me to record their demo. On a recording-introduction course I did half a year ago (didn't learn anything I didn't knew before), the guy told me I knew to much to do this kindof thing. When I hear most local bands play, I think 1)why doesn't he play that, that would sound alot better, or 2)shwat, now how can you get a band like that to sound good?? Mostly, I get annoyed and leave early...

The only band I like with bad musicians, is the band I do 'session'-work for, cause they suck on their instruments, but they got excellent ideas. Creative as hell. And they don't mind other people to add to their music. And I get to use all the silliest sound from my expander, really wonderfull. Playing harmonics on the sax over distorted guitars, they want me to do every strange thing they can thing of. I love it.
 
Like my great-grandaddy used to say: There are two kinds of work in this world: the kind you take a bath before, and the kind you take a bath after.
There are also 2 kinds of music:
The kind that is art, and the kind you get paid for. Very rarely (at least in my experience) do they co-exist. Once you realize that, you have to decide which road you will take, or what balance of the two you find acceptable in your life.
Like my other great-grandaddy used to say: Doesn't matter what your job is, there will always be at least one thing about it you hate.
So there ya go.
If you want to make money, you gotta put up with some stuff and be prepared to comprimise. If you want only to make music which you like, and of which you are proud, then prepare to live on mac and cheese. (At least for a little while.)
The few who are able to make money at their art are the luckiest of us all, and even they have something about thier work that they hate.
Just my $.02.
Aaron
http://www.aaroncheney.com
 
Originally posted by Michael Nadolski
I can create a better mix out of a steady white noise generator.

Well, do that then! If their guitars suck, replace them with white noise and samples. Then say to the band that it's something new (although you sampled them from Nine Inch Nails), call them "groundbreaking" and pat their backs. :)

No, really, I have no idea, I'm not a pro and I'm just happy I'm not in your situation. ;)
 
Sorry, how did you get a client in the first place?

You could complain about it, or, you could try maybe, hell, I don't know, help them out a bit?

Part of being professional is to help the artist achieve a sound that is appropriate to their style. Seldom do the young artists know how to achieve this. When this becomes appearent, give them a few suggestions under the guise of "just try this out and see how it works", then when they see how killer you are, you pop them with paying you some producing fees. They probably should have had a producer anyway.

Good luck.
 
I am not a pro but record quite a bit and have a decent small studio. I have come up against this challenge myself already a few times.

first off ask yourself if there is something you could respect about their performance. You have to at least be able to get excited about their vibe so you WANT to make it all sound as good as posssible.

If you entirely hate the bands music or style you shouldnt do the job unless your hard up for cash. In that case resign yourself to happily doing your best. Even if you dont entirely like the band others will hear the recordings and many will know who recorded it. THe quality ultimately reflects on your studio and capability.

I have had good bands come to me to record becuase they heard a demo or track of a horrible band they know personally that sounded pretty good on my recordings.

Now days I wont record a band unless they can produce at least a boombox recording of a song or two to see if I can at least marginally get into it..
 
I agree with Bruce, Just say no. or you can lead them in the right direction for thier limited musical talent....which in the end it could lead to more money in your pocket, Get paid for your talent.

Good Luck

Carter
 
Michael Nadolski said:
1) is not that good, and 2) I can't stand their music. (Mostly, they're not that good because I can't stand their music.)

I am used to "dynamic" type music, thus I enjoy the challenge of mixing my own songs. With this s**t, all it is is screaming loud vocals (if you can call it vocals) that make you cringe and all distorted guitars that have no talent behind them. I can create a better mix out of a steady white noise generator.
Click to expand...

Really.. I feel sorry for them, not you. You sound like a narrow-minded little holier-than-thou.

Obviously these guys like what they're doing, and it's your job to respect that and help them make the best out of it. If you can't do that, just back off. Tell them you're not the right guy for them. Then you can go back to jacking off to challenging, dynamic music.

..and yes, you can call screaming vocals.
 
Holier-than-thou? Not. I was simply asking how the pro's approach this mentally, and up until now, I heard some constructive thoughts and criticism.

I never record anyone else because I don't do this for a living, nor do I have the time, and this project was thrust upon me by the promise by a family member to a bunch of friends. Had I known I wouldn't like the music, I would have backed off, but too late, and that's why I asked for mental approaches.

Your opinions are noted for future reference.

Thanks,

Mike
 
I think even the beatles where disliked at one time or another.. Sure these guys you were helping probably werent very innovative but if you agree to record them give them a chance and be cool about it.

I have actually gotten hold of early demos of nationally known acts and some of the early versions of the same hit (platinum album) songs really really sucked from the standpoint of both the bands ability and performance.
 
Now that's a constructive and interesting perspective. I will give it a go and looking forward to it a little more than when I first started this post. I might be able to experiment a little now too as I just picked up a new dsp compressor and lexicon mpx500.

Thanks everyone for your input.

Mike
 
Michael Nadolski said:
Holier-than-thou? Not. I was simply asking how the pro's approach this mentally, and up until now, I heard some constructive thoughts and criticism.
Click to expand...

Yeah.. I think I missed out on the constructive part.. ;)

I've been in that situation many a time when doing live jobs. I've mixed sooo many bands that I'd hate if I'd been in the crowd. But when I'm behind the console, I have learned to "like" all the bands, and see the poorest acts as a challenge. I also NEVER put up and attitude to unexperienced kid-bands. It just won't help either of us.
The way you started out describing the band made me jump 'cause *I* think it's straight-out shitty attitude to the kids(?), and even towards yourself.

I understand your question. I just don't like the way you put it.

I never record anyone else because I don't do this for a living, nor do I have the time, and this project was thrust upon me by the promise by a family member to a bunch of friends. Had I known I wouldn't like the music, I would have backed off, but too late, and that's why I asked for mental approaches.
Click to expand...

I think you should put all your effort into having a serious go at it. Have a talk with them about how you see it. If they're cool with it, I think both parts will come out on top. Otherwise just drop it.

Your opinions are noted for future reference.
Click to expand...
Threat or promise?
 
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