Mixing With Purpose
Posted: January 30th, 2014, 10:40 am
Mixing… the dark art of sound.
Over the years as my tracklays have become more intense and have greater depth, I’ve found with this mixing becomes more challenging. Certain genres, Sci-Fi, Horror, Action; this isn’t as much of a problem. A busy mix often adds to the intensity and keeps the energy nice and high. With more cinematic and realistic material this approach becomes less and less useful, to the point where things don’t sound very good at all.
I take the approach of less is more in these instances. Having one or two really good sounds in the mix at any one-time seams to work best here. Those sounds would typically be diegetic.
Does anyone have techniques or approaches they can share regarding mixing for more cinematic content? What sounds do you push up to the front? What type of sounds do you avoid in the mix?
Over the years as my tracklays have become more intense and have greater depth, I’ve found with this mixing becomes more challenging. Certain genres, Sci-Fi, Horror, Action; this isn’t as much of a problem. A busy mix often adds to the intensity and keeps the energy nice and high. With more cinematic and realistic material this approach becomes less and less useful, to the point where things don’t sound very good at all.
I take the approach of less is more in these instances. Having one or two really good sounds in the mix at any one-time seams to work best here. Those sounds would typically be diegetic.
Does anyone have techniques or approaches they can share regarding mixing for more cinematic content? What sounds do you push up to the front? What type of sounds do you avoid in the mix?