Pitching the "Inspried" mix to a client

[dokushoka]

Hi Michael,
Something that I feel when I listen to your mixes is a sense that you are generally inspired quite strongly by the music that you mix. I know for me, personally, when I have the opportunity to mix something that inspires me, I'll often make dramatic changes to the arrangement, completely leaving out instruments or re-editing the song to keep that inspired feeling moving forward through out.

Most of the time, my clients like the results of this, but recently, I've started working with someone who has a hard time judging his own music (he literally never seems to know what sounds good or bad, can't tell his vocal takes apart, etc) and seems to have trouble accepting change. Do you have any advice about how to pitch the new mix to him? The rest of his band likes it, everyone around me likes it, but he is the decision maker...

[Michael Brauer]

Yes, you are very observant. I am genuinely inspired by good music. I want to become part of the song. I want it to touch me. I do whatever arrangement or sonic changes are needed in pursuit of that goal. I trust my instinct and I trust my interpretation of the song will be the right one. If it isn’t then I’ll change it and make it right. If you only knew how many years it took for me to come to that simple conclusion. Why? Ego.

Now, here comes the hard part of being that open and vulnerable with your feelings. You run the risk of becoming attached and precious to the mix. The song now belongs to you and it’s become your precious little creation. Any attempt to change the feel becomes an attack on your whole being. How can they not get it, it’s perfect! Well, for openers, it’s not your song, it’s the artist’s song and your contribution to the process is to make it his vision. I have been round and round with this one over the years and I’ve visited both extremes. When I was too passionate and precious with the mix, I’d bitch and moan if the artist wanted to make changes because I believed my way was the only vision to consider. I didn’t get it. So I headed towards the other extreme to protect myself. Now, I’d mix a song and not let myself get caught up in the passion of the process. I’d anticipate rejection and just do what they wanted but I was like an open book so again the result was the same. I just didn’t get it. Mind you, it’s not as if this happened everyday. Most times there was no question that I nailed it. The problem was how I acted when the artist didn’t like it. You can have a great attitude all day long and have ten songs go well but it’s the one tough song along with the tension you project on it that stays with artist.

I eventually settled on a balance of the two and found the path that worked best for me. Go with what inspires me and be open to the possibility of other approaches. Don’t be so precious to anything. Trust the artist’s vision. Go with what is best for the song. There is no right or wrong way, most of the time. It’s more about which approach appeals to the artist in balance with the record company. If they don’t know what is the best direction, guide them. That’s part of your job. You want to be a mixer or a button pusher?

You must first earn their trust. Let them feel you are there for them, not for anyone else. Sit down with the artist and take a little time to talk about the song. They’ve been on a very long journey to get to this point. They are nervous because it’s time to let the song go and many resist. This is not the time to blow them off. Get as much information as possible about their vision of the song. It may not be the same as the band or anyone else. Is it the right direction? Well, you’ll have to figure that out. I ask what the story is about. I ask many questions. The more I have in my arsenal the better chance I have of nailing it.

Next, I play the rough mix and ask questions about it. What do they want to retain from the rough, what don’t they like about it. Does it just need to be matched and improved? (I refer to it as MAI pronounced ‘may I’). I always sync up the rough or reference cd to the multi. When I think I’ve got a bad ass mix I A/B. Sometimes bad ass it ain’t! It’s more like bad with no ass. Sometimes (although it doesn’t happen often) I say “there is nothing wrong with your mix. It’s perfect. I can give you an alternate feeling and you can decide if you prefer it but I don’t think I’m going to give you a better version of this one”. Honesty goes a long way.

The next step in the process is to ask the artist to let me mix alone until I’m ready for them. I want them to walk in with fresh ears. I don’t want them to adapt to my mix by hanging around and listening to the process. I mix the song my way and print it. I don’t ever go over it unless the changes are very minor. When they walk into the room for a playback, they’ll have that most important thing going for them, The first impression. I ask them to listen to the mix twice before commenting. The first time I play it on my mid fields and the second time I play it on my boom box that sits on top of the rack behind me. If they have major changes then we discuss it. I’m ready to try their idea to fruition. Sometimes it may take an hour or more to go down that path but it’s worth it. If it’s a dead end, you turn around. You’ll both know it if the idea works or doesn’t. If you disagree, ask to play your original mix to compare. If your idea works better, the artist will generally be the first to admit it. If not, well you have your work cut out for you. You may suggest to put down two versions and they can decide on it later. That works like a charm. Just don’t ever lose control of the session. Stay calm. If you put him on the defensive, he’ll resist change.

What about the times when I have to get two or more songs mixed in one day and I don’t have the luxury of experimenting for hours on end? That’s brings up a whole other set of dynamics that contradicts or overrides some of my previous advise.

So many scenarios and exceptions to everything I just wrote came to mind as I began answering your question that I felt like I was playing a game of chess in my head. “If he (the artist) says this, I say that, but if he says that, I’ll do this unless he says this but his eyebrows say different” There is no one sure fire approach because the conditions change by the minute and very often I get my cue more from body language than words.

But at the end of the day, I want the artist and record company to walk away happy. I want it to be a relaxing and enjoyable experience. I want them to remember me in the future.

[Jose Mrochek]

Have you considered writing a book on the psychology of engineering music Michael ??

Every post of yours is a great read, thank you!

[Michael Brauer]

Originally Posted by Jose Mrochek

Have you considered writing a book on the psychology of engineering music Michael ??

Maybe someday. But the exceptions to every piece of advice I give are too great. How could I write something that is definitive? I think I spend about 3 hours(it's like mixing a song) answering some questions and rewriting most of it many times. Most of the time I resist writing, "well unless this and this happens which then negates everything I just said because now we have a different set of ground rules" The biggest problem I'm having is keeping the answers from being long winded. I tell you, when I see a one sentence answer, I jump on it.

[Jose Mrochek]

The most beautiful part of the music making process is that nothing is definitive. What we have are songs and people that inspire us to be better everyday. And you sir, are one of them. thanks again!