#testmix

It’s pretty common for people to ask me if one of my clients will do a test mix. Generally this means that several mixers will be mixing the same song, and the artist will pick the one they like best.  I suppose there’s a certain logic to doing this.  After all, most people wouldn’t dream of buying a car without test driving it, right?  And mixing a record is a big investment, so isn’t it sensible to do test mixes?  

Well, in my experience, there are several inherent problems with test mixes:

1.      For starters, evaluating mixes is so subjective that picking a mixer is often a self-fulfilling prophecy.  If you LOVE a bunch of records mixed by a particular mixer, and you’re EXCITED about working with that mixer, then odds are pretty good that you’ll be happy working with that mixer.  If you’re ambivalent about a mixer, and you’re not sure if he’s the right guy, then odds are you’ll be unsure about his mixes no matter how they sound.  You’ll always wonder what the songs would have sounded like if you had been able to hire your dream mixer.

2.      If you do test mixes with several different people, odds are you’ll love the way the guitars sound in one mix, and the way the drums sound in another mix.  At the end of the day, you’ll find yourself chasing elements of different mixes which may be impossible to have in one mix.

3.      Mixing should be a collaborative effort.  This point (and others) are made eloquently in this note from one of my clients to an A&R guy:   “Regarding the test mix, I really do thank you for considering me, but I have issues doing these kind of shootouts for many reasons:

“First—no great records were ever made like this. I always cite Led Zeppelin and Jimmy Page as an influence in my thinking.  Jimmy used different guys on every record—sometimes just the house guys at certain studios and sometimes the old trusted dudes -- but in the end it still sounded the way he wanted.  As producer, he worked with the engineers and mixers to help them achieve that Zep sound that we all love and that was in his head.  At the same time left behind a body of work that doesn’t sound redundant from record to record.  The band grew with each outing and I firmly believe it’s because great records are made with communication and people working together.

“It takes a little time to get into the swing of a record, and I welcome the communication between myself and a band...getting to learn what they like and dislike.  A shootout is so impersonal – it’s just guessing what people may like and being afraid to steer too far off the path since they may not like it.  

“Second—no matter how many times someone says they won’t just like the loudest mix, they always pick the loudest one.  Its human nature—louder is better.  I don’t like blasting things into oblivion so it immediately impresses the band, but instead I try to mix with music decisions in mind. I let the mastering guy make the volume competitive and not just more blown up and distorted.

“Anyway, I do thank you for the opportunity to be involved.  But I like to work WITH a band to make great records…not just be forced into going for flash and volume off the bat to hopefully get the gig.”

Our recommendation is this:  

1.      Do your homework and pick a mixer who has done work that you truly admire.

2.      Talk to that mixer about how you want your record to sound, and get the mixer’s input.

3.      Trust your gut… if it feels like the right decision, commit yourself to making it work with that mixer.

4.      Believe in yourself and your music.  As important as it is to get a great mix, it is still a tiny fraction of what makes your music connect with an audience – words, melody, performance – all of these things carry much more weight. Don’t lose sight of the big picture!

To revisit the analogy about test driving a car, here’s a final point: we don’t want to sell you a car you don’t like!   We only want to work with you if you really want to work with the mixer, and are committed to making it work.  At the end of the day, any reputable mixer wants the same thing as the artist:  he wants you to be wildly happy with the mixes, to be incredibly successful in your career, and to work with you again on your future recordings.