Now let’s look at how your brain functions during the mixing process, because in actuality, the human brain is a dual processing system—and that impacts artistic activities. The left hemisphere is involved in more analytical tasks, such as math, decoding directions, reading, and so on. The right hemisphere is more involved with creative tasks and emotional responses; it’s the part that “feels” rather than “thinks.” This is not some weird new age philosophy—it’s possible to hook up electrodes to people’s heads, and see which hemisphere of the brain is working during a particular task.
So what does this have to do with mixing? Everything, and here’s why.
In general, it’s difficult for people to switch back and forth between the two hemispheres. Every musician knows what I’m talking about: suppose you’re in a right-brain groove, generating an idea a minute, when all of a sudden there’s a technical glitch. Now you have to switch over to left-brain mode and begin the troubleshooting process. When you start playing music again, the groove is gone, because your brain became stuck in left-brain mode.
In a conventional recording studio situation, the engineer lives in left-brain mode, the artist stays in the right brain (e.g., doesn’t have to worry about level-setting and such because the engineer takes care of that), while the producer has the difficult job of trying to integrate the two. If you’re trying to perform all these functions at once by yourself, you’ll find it’s not all that easy. This is why it’s always great if you can have associates to help during the mixing process.
However, if you’re flying solo, there are still ways to reconcile the right brain/left brain dichotomy. The most important goal is to make sure you don’t have to think about left-brain activities, so you can stay in right-brain mode. If working with your multitrack recording system of choice becomes second nature, it will be that much easier to stay in right-brain mode. Here are some tips on how to do this.
• Learn the keyboard equivalents for various operations. Once memorized, it takes less effort to just hit a couple of keys than to locate a specific area on the screen, move your mouse to it, go down a menu, select an item, etc.
• Use Layouts to organize specific combinations of windows for certain tasks, like mixing, overdubbing, different types of editing, etc. This requires less effort than opening windows and dragging them around.
• The use of color and graphics goes well with right-brain thinking, as your brain can decode colors more easily than words. This is why it can be helpful to color-code tracks, especially if you’re consistent about it—e.g., always making the bass tracks or guitar tracks the same color.
Good insight on left vs right brain when it comes to music creation. I always try and walk away from the song for a period of time and then come back later and try and be more analytical, as if listening for the first time, and this helps with the mixing and mastering aspects.
And it seems like if I wait a week or so and then come back again, there are other aspects of the song that I can be more critical about.
TimM
Oops do I feel stupid asking in my previous post where to find info on how to prepare for mastering. It is all right here in your blog, plus a ton of really helpful tips and advice. I’ve got a lot of reading to catch up on. Great blog Craig.
Howard
Excellent advice. Been there, right in the middle of a groove when some technical problem crops up. It probably takes me three times as long to mix when that happens (which is most of the time).
You are right about the keyboard commands being much better than a mouse. Even better is a simple DAW controller, I use a Presonus, which further simplifies the process.
Color coding tracks is something I never thought but it makes a lot of sense. Also like the idea of using layouts. I will be trying those techniques on my next mix.
Another thing I do is use predefined templates for my DAW, e.g. a template for vocals and acoustic guitar, rather than start from scratch. I also found it very helpful, and rather low tech, to keep a notebook handy to write down settings etc., every time I record and mix. Great for reference and clears the brain for making music.
I am rather new here, so I am going to read Part 1 of this series, as well as your blog. Forgive me if any of the above ideas were already covered.
I am working on several projects right now and have already had a song published & recorded (the record label did the mastering). For my new work I plan to mix and then use your services for mastering. Where can I find out how to prepare the mix for mastering when it comes to compression, headroom, EQ etc.?
Again, I thank you for some simple yet practical advice. Look forward to learning more from you and the Broadjam community and to working with you on my next project.
Peace thru Music,
Howard Pavane