Mix Engineers ... what do you like to see?

[nukmusic]

Just something on my mind that I wanted to ask. So many ways of doing things.

When you open a session to mix, what makes your day? (and what pisses you off?) Sessions from real instruments or from keyboards/drum machines that someone else recorded.

Kick - in,out, both?
SN - top & bottom or just top?
RM - one, stereo, M/S
Lead VOX - mutliple takes or one single take?
BKG VOX - number of stacks
GTR - amped, direct, both?
BASS ?
horns?
recording levels?
tracks in a certain order? from left to right
certain things mono or stereo?
rough mixes?
etc,
etc,
etc

I label everything before recording audio. I also utilize the comment box on protools tracks to note mics, preamps, or whatever was used. Set song tempo, renumber bars (3 becomes 1) and many other little things.

[ryst]

Kick - in,out, both? As long as it was recorded well, it doesn't matter too much to me. I can replace the "click" or the "boom" with a sample if needed.

SN - top & bottom or just top? I actually would always like to have the bottom. I don't even need the top if I have the bottom and good OH's

RM - one, stereo, M/S Yes but it doesn't matter too much to me what kind

Lead VOX - mutliple takes or one single take? I would prefer as a MIXING ENGINEER to not have to do much editing. So I would like to have everything already comped and edited.

BKG VOX - number of stacks - Depends on what's needed for the song

GTR - amped, direct, both? - Amped is fine but I will take direct too for an extra option

BASS ? - DI is fine

horns? - no thanks

recording levels? - nothing clipping. -6db on peaks


tracks in a certain order? from left to right - I always go, Master fader>Drums>Bass>other instruments>vocals>effects. But I usually set that up myself

certain things mono or stereo? I hate getting kicks, snares, hi hats etc in stereo. Any track that has the same info on both sides should be mono. Otherwise I am spending a lot of time on the "split into mono" function in PT

rough mixes? - Yes
etc,
etc,
etc

To me, the most important thing is to have everything recorded well. No clipping anywhere. I don't like having to feel like I am a surgeon. Also, label EVERY track and supply notes if necessary.

And also have everything edited. I shouldn't have to listen for the best take or do any cross-fading or trims. It should be done and ready to go. If I have to edit, I charge extra for that because that's not mixing.

Here is a good tutorial on getting your song ready for the mixing engineer.

http://techbreakfast.com/tutorials/P...n_Transfer.mov

[bgrotto]

My main issue is poor labeling. Files called "Audio_01" are unacceptable.

I also get annoyed by stuff like too many mics on a source; don't expect me to make all the tracking decisions for you. Especially if you're not gonna be around acting as producer to tell me what you want.

Phase problems really get me too, especially combined with one or both of the above issues. It takes two extra minutes to get it right.

With hip-hop, sample-based stuff, clipped samples and levels that are overly hot sorta bum me out, but it's not too hard to fix.

Ultimately, the more crap you hand off to a mix engineer that he's gotta fix before actually getting to mixing, the more money you're gonna spend getting what you want. So stay organized, use your head, and be considerate. I think that's all any professional mix engineer dealing with other engineers' tracks can ask for.

[phillysoulman]

I want carefully labeled and ergonomically placed tracks.
Edited background vocals that are placed where they are SUPPOSED to go.
Well thought out levels with plenty of headroom.
Info on what mikes were used, outboard gear,etc.
Lyric sheet

[thethrillfactor]

Originally Posted by nukmusic

When you open a session to mix, what makes your day? .

A hit song with a lot of muscle and clout behind it?

[rickrock305]

Originally Posted by thethrillfactor

A hit song with a lot of muscle and clout behind it?

, absolutely!

As long as tracks and audio files are well labelled and in some sort of order, everything else i can live with. of course i don't want to be comping tracks or flying hooks around. and please provide a rough mix.

then there's the obvious like noise, clipping, etc. that i shouldn't have to deal with.

[Stitch333]

Don't like to see:
printed effects (especially bad reverb)....that shit drives me nuts

Like to see:
the work keep coming

[nukmusic]

Originally Posted by thethrillfactor

A hit song with a lot of muscle and clout behind it?

LOL come on Thrill. I know you have more than just one sentence/question and a smile.

just trying to start some CONSTRUCTIVE slutz convo. and it seems to be working.

[chris carter]

Properly label your tracks/files
Send consolidated files and edit your stuff
Print your levels around -12 to -18; don't pin the meters
Don't print effects... if you have to, print them 100% wet on another track.

Those are my biggest gripes. Oh yeah and one more that drives me nuts: If you are doing stuff in PTLE and you have limited tracks and must put more than one part on a track, KEEP IT CONSISTENT. I constantly get stuff where the low verse harmony part will be on one track in the first verse and then the second verse comes and it's some talking part on that track and the part that was there before is now on some other track. It's like the engineer just grabs tracks willy nilly. That drives me nuts because it takes more time to sort through that crap than anything else.

[nukmusic]

I've been using a session template for about 5 yrs now, no complaints yet. I usually set up things from L to R:

drums starting with Kick/Sub, then SN/Claps, Hats, etc
Bass is next followed by GTRs
Piano, keys, synths, Horns, etc
Vox- Hooks/choruses/BKG Vox, etc
Vox- verse 1 Lead, V1 ad-libs
same with verses 2 & 3. All on separate tracks. If there's a harmony stack or extras during the verse, they'll also be placed on a separate track(s) next to that corresponding verse/ad-lib.
Group Buses
master fader
EFX bus/return tracks
MIDI tracks (it needed)

I use to set up tracks the music on the left, vox on the right, and the Group buses/Master Fader/EFX return in the middle separating the music & vox.

everything gets labeled before tracking the audio. If it's a stratch take, it gets labeled with an "x_" in front. "x_VERSE 1, x_LEAD GTR, etc". Outboard gear used in the recording gets noted in the protools comment box. Never know when a picky artist/producer might insist on redoing something just because they can.
Not much EQ, not much compression. No printed EFXs, no automation. Unneeded audio gets removed from the region list/audio folder. When saving the multiple sessions to CD-R or DVD-R, I'll try to limit it to one or 2 sessions per disc or burn a safety copy.

When working with tempo/bpm based sequencers I track in Grid Mode(1/64) after the tempo is set. Seems to helps when editing is needed. Measures are re-numbered(3 becomes 1) so that there are 2 blank measures before any audio. FILE/GET INFO is filled in with song/artist/producer/label/studio information.

When I receive songs to mix, only two things really bug me.
stereo music tracks(unseparated music tracks) and unlabeled/incorrectly labeled audio files.

[larrygates]

Originally Posted by nukmusic

When you open a session to mix, what makes your day?

The work, then the MONEY!

[nukmusic]

Originally Posted by larrygates

The work, then the MONEY!

You mean... THEN MONEY(first), then that they work?

I lost count of how many session DVD's I've received that I could not open or had errors. I always recommend that folks limited the number of sessions on one disc. 4 on one disc vs 1 or 2 on different disc. If one disc doesnt work you can move on to the others while you're waiting for a replacement.

Even had one artist fit 9 smaller sessions on one DVD-R. And guess what..it had errors and delayed the project.

[Tony Shepperd]

Things that tick me off:
1. Having tracks not clearly labeled (audio 1, audio 2 is the black hole of time).
2. Having no markers in a song (when the client refers to the bridge and it's not clearly labeled).
3. Getting a bloated session (please delete unused sound files).
4. Having a projects worth of songs that jumps from 24/44.1 to 24/48 to 16/44.1 and all coming from the same producer.
5. Not having a clear direction that they want from the mix.
6. Having to unwind a ton of automation from their mix, before I start my mix.
7. Having an albums worth of material to mix and they want to clog up my drives with their material. (please deliver a drive with all your material).
8. Not having the vocals tuned and expecting me to just do it because you know it's going to annoy me unless there done. :)
9. Giving me a tune to mix and after I mix it, you realize it's the wrong vocals... or the wrong guitars or something that you "thought" was finished, but wasn't.
10. This last one is only for the major labels: After all the work I've done on your project,
trying to get your artist to shine and have their best foot put forward, you would take more than 90 days to pay me.

That is the un-kindest cut of all.
PAY ME! PAY ME!! PAY ME!!!

[phillysoulman]

Originally Posted by nukmusic

You mean... THEN MONEY(first), then that they work?

I lost count of how many session DVD's I've received that I could not open or had errors. I always recommend that folks limited the number of sessions on one disc. 4 on one disc vs 1 or 2 on different disc. If one disc doesnt work you can move on to the others while you're waiting for a replacement.

Even had one artist fit 9 smaller sessions on one DVD-R. And guess what..it had errors and delayed the project.

I do not accept DVD files..only hard drives.
And I insist upon being paid up front in CA$H if you are not a reputable label project..

[nukmusic]

Originally Posted by phillysoulman

I do not accept DVD files..only hard drives.
. . . .

same here if the session is big and another studio is being used. But I'd rather not have someone's harddrive, even though most are dubs or backup drives.

[thethrillfactor]

Originally Posted by nukmusic

LOL come on Thrill. I know you have more than just one sentence/question and a smile.

just trying to start some CONSTRUCTIVE slutz convo. and it seems to be working.

I was being serious.

I am not as picky as other guys are. If you gave me the choice of hot track that i know is going to get air play and it comes in all over place compared to a well organizrd PT session that is just mediocre and i know won't go anywhere i'll take the first.

I mean if there was one wish it would be that everything came in already Autotuned or pitch corrected. Also i hate it when people decide just before the mix is about to be finished that they want to add parts(vocals mostly). Other than that i can deal with the rest and do especially if a PTools savy assistant is around.

[peeder]

Originally Posted by Tony Shepperd

10. This last one is only for the major labels: After all the work I've done on your project,
trying to get your artist to shine and have their best foot put forward, you would take more than 90 days to pay me.

That is the un-kindest cut of all.
PAY ME! PAY ME!! PAY ME!!!

This is easily solvable by having terms on your invoice. For instance, 2%10, net 30, 1% interest per month afterward. You can also give a 10% discount for cash in advance. Since it's mostly bean counters that handle the invoice payments in larger companies, you need only dictate your terms on the invoice and they will prioritize accordingly. Otherwise refer to collections.

The rest is solvable by an hourly surcharge for non-mixing activities.

I actually would always like to have the [snare] bottom. I don't even need the top if I have the bottom and good OH's

Not me, I'd rather have the top...the bottom generally sucks...piffley pish.

And I'll agree with thrill, if you have an authentic hit song I don't care if you make me download it via 2400 baud modem...

[The MPCist]

yeahTony, I know what u mean... And it's sometimes hard to press the Majors for payment without souring things a bit-hence the 'major label price' for the waiting..

I produced 3 songs on a XXX (major label that starts with 'E' last December--the album's out but I haven't received payment. All I can do is wait since the A&r is a very powerful guy and I get work from him alot---just that payment is always delayed.

As for the post about upfront percentage and interest---well, let's just say that won't work with majors--penalty interest added to late payment...good luck in having that work.

We're in a 'people-oriented' industry and the best way to get lots of work is to overlook certain things and come across as a very easy person to work with.

Or get a manager and he can be the 'bad guy'.

All of the above=IMHO and YMMV.

[peeder]

Originally Posted by The MPCist

yeahTony, I know what u mean... And it's sometimes hard to press the Majors for payment without souring things a bit-hence the 'major label price' for the waiting..

I produced 3 songs on a XXX (major label that starts with 'E' last December--the album's out but I haven't received payment. All I can do is wait since the A&r is a very powerful guy and I get work from him alot---just that payment is always delayed.

As for the post about upfront percentage and interest---well, let's just say that won't work with majors--penalty interest added to late payment...good luck in having that work.

We're in a 'people-oriented' industry and the best way to get lots of work is to overlook certain things and come across as a very easy person to work with.

See they own you. You are afraid to even write that on your invoice or into your contracts. It's a managerial imperative to get as much cash control as you can. And you guys are letting them get away with it. So what do you expect?

You don't talk to your contact at the company. You talk to accounting. You show them the paperwork. They write the check. The A/P accountant's job is to avoid collections and interest. The accountant will do their job. They are more afraid of the manager than you are, and they will make you happy.

Not many people know about business in this "business" and the few that do walk all over yaz. You don't owe any label a loan.

[smy1]

Originally Posted by peeder

Not many people know about business in this "business" and the few that do walk all over yaz. You don't owe any label a loan.

Especially not if you have a purchase order ...

[MR4791]

Originally Posted by peeder

This is easily solvable by having terms on your invoice. For instance, 2%10, net 30, 1% interest per month afterward. You can also give a 10% discount for cash in advance. Since it's mostly bean counters that handle the invoice payments in larger companies, you need only dictate your terms on the invoice and they will prioritize accordingly. Otherwise refer to collections.

The rest is solvable by an hourly surcharge for non-mixing activities.

I like the sound of this but I'm not sure what the numbers mean. Could you say more about the "...2%10, net 30, 1% interest per month afterward...' bit?

[Tony Shepperd]

Originally Posted by peeder

This is easily solvable by having terms on your invoice. For instance, 2%10, net 30, 1% interest per month afterward. You can also give a 10% discount for cash in advance. Since it's mostly bean counters that handle the invoice payments in larger companies, you need only dictate your terms on the invoice and they will prioritize accordingly. Otherwise refer to collections.

I'm not sure how many major labels you've billed, but just writing those terms on an invoice, well it doesn't mean anything.

I have written that on my invoice and many other terms.
The Major Labels still pay when they want.

They are very much like a doctor billing the medicare system.
If you are a doctor and bill $1,000 for a procedure, medicare will pay what they are willing to pay and no more.

[smy1]

Originally Posted by Tony Shepperd

I'm not sure how many major labels you've billed, but just writing those terms on an invoice, well it doesn't mean anything.

I have written that on my invoice and many other terms.
The Major Labels still pay when they want.

I've never had any problems getting money from a major within 4 weeks when I had a P.O.

Indie labels is a whole different story ...

[Tony Shepperd]

Originally Posted by smy1

I've never had any problems getting money from a major within 4 weeks when I had a P.O.

That's kinda funny. 5 years ago I got a P.O. from Warner Bros., for a project.
45 days later I called to check on when the check was going to be sent out.

She then proceeded to tell me, "just because you have P.O. from Warner Bros., doesn't mean you are going to get paid".

I was incredulous!
So I said, what's the purpose of getting a P.O. from you all anymore?

She said, "we'll, I'm just telling you what our new policy is".

Every year the major labels have changed their payment schedule.
Now major labels are telling producers there is no back end if your song doesn't go on the record.

It doesn't matter that you've already done the work.
If they choose not to put it on the record, no back end.

[ryst]

Originally Posted by peeder

Not me, I'd rather have the top...the bottom generally sucks...piffley pish.

Well, I guess I should have said "lately" like within the last couple years. But then again, it depends on how well everything was recorded anyway.

[rickrock305]

Originally Posted by peeder

This is easily solvable by having terms on your invoice. For instance, 2%10, net 30, 1% interest per month afterward. You can also give a 10% discount for cash in advance. Since it's mostly bean counters that handle the invoice payments in larger companies, you need only dictate your terms on the invoice and they will prioritize accordingly. Otherwise refer to collections.

The rest is solvable by an hourly surcharge for non-mixing activities.

yea, good luck with that. major labels pay what they want to pay, when they want to pay it, regardless of what you put on your invoice.

the accountants may cut the check and balance the books, but they aren't the ones approving who gets paid and who doesn't and when.

labels know they wield the financial power to break you in court. you're certainly not going to get anywhere trying to strong arm them.

[HoPMiX]

po'tools......

[Jake Gilla]

It looks like Mix Engineers need to unionize.....

[peeder]

Or learn how to use collections agencies.

At the very least, you can condition any additional work upon the settlement of accounts.

There is no way the label can get out of paying if you have delivered product and it has been accepted. They know this, but you guys are too intimidated to leverage it. No need for a whole union...it would only take a handful of you guys to put your foots down before the labels realize they can't borrow money from engineers anymore.

Net 30 means the net of the invoice is payable in 30 days from the invoice date. 2% 10 means that accounting can deduct 2% if they pay in full within 10 days. 2% is enough that it completely overwhelms the interest or investment value of holding that money 20 more days...in fact, with the prime rate where it is, it would overwhelm the interest value of nearly a whole year. When rational accounting gets a 2% 10 Net 30 invoice they will pay immediately unless they simply don't have any cash on hand. 1% interest per month on late invoices is nearly as bad as borrowing on a consumer credit card. Generally corporations can get better loan rates than that, if their credit is any good, and will thus find it a better deal to borrow that themselves from a lender rather than pay the interest for the invoice.

You are just trying to make the decision tree favor prompt payment. You have contract law on your side! But if you are too timid to use it, then the decision tree favors guess what?

[Tony Shepperd]

Originally Posted by peeder

Or learn how to use collections agencies.

At the very least, you can condition any additional work upon the settlement of accounts.

There is no way the label can get out of paying if you have delivered product and it has been accepted. They know this, but you guys are too intimidated to leverage it. No need for a whole union...it would only take a handful of you guys to put your foots down before the labels realize they can't borrow money from engineers anymore.

Net 30 means the net of the invoice is payable in 30 days from the invoice date. 2% 10 means that accounting can deduct 2% if they pay in full within 10 days. 2% is enough that it completely overwhelms the interest or investment value of holding that money 20 more days...in fact, with the prime rate where it is, it would overwhelm the interest value of nearly a whole year. When rational accounting gets a 2% 10 Net 30 invoice they will pay immediately unless they simply don't have any cash on hand. 1% interest per month on late invoices is nearly as bad as borrowing on a consumer credit card. Generally corporations can get better loan rates than that, if their credit is any good, and will thus find it a better deal to borrow that themselves from a lender rather than pay the interest for the invoice.

You are just trying to make the decision tree favor prompt payment. You have contract law on your side! But if you are too timid to use it, then the decision tree favors guess what?

When was the last time you worked with a major label?