Favourite techniques for not going nuts...

[annayarbrough]

microadjustments for miles

This is a very accurate description of what I do

[annayarbrough]

I always work with an analyser (Ozone Tonal Balance

Maybe I need to look into this.

[annayarbrough]

Frequent breaks and constantly reminding myself that the longer I spend listening to the same mix, the worse my decision making becomes!

Indeed. I'm finding first thing in the morning yields the best results right now...

[annayarbrough]

The biggest thing I do, though, when I get to some degree of mix candidate, be that an early rough mix or a late "final mix candidate", is take a break, write a 320 kbps MP3 to a USB stick, and do a car listening test

This is the worst thing about living in NYC. No car to test mixes!

All very interesting. I like your priority list approach of addressing the big things. I've found the very first listen is key for me—I'll write down the main things I notice. Any listen beyond the first, I'm second guessing the minor details and hearing things that aren't actually there....

[annayarbrough]

When I get stuck like you describe I try to only work for about 30-45 min at a time on that mix and work with other projects the other time. That keeps me more foused when I open the project and listen to it again. You maybe already do gain staging before you mix?
For me it is a real time saver and make it easier to mix.

So you flip between different projects?
I've found that achieving a good static mix is my longest step. I will spend FOREVER on this. Which, I guess, is a good place to spend time on.... but I absolutely overdo it every time.

[annayarbrough]

TI swear by the plugin “Levels” from Mastering The Mix.

I'll have to check this out!
You're so right... perspective vanishes by the second listen for me

[annayarbrough]

Born out of a couple of days of spending WAY too long on a simple mix...
I frequently find myself adjusting things by micro amounts where the difference probably isn't even obviously audible to anyone listening I don't tend to be this crazy with TV/film stuff that sits under dialogue, but when I'm working on artist projects the obsession is real.
What are your favourite practices for keeping your ears fresh?

I think it depends , different strategies for different stages of the production seem to work for me.

1. Writing stage...not focusing too much on fine details. i.e. Choosing a piano sound for example that is ' good enough ' rather than spending an hour trawling through for the 'perfect' sounding instrument

2. Mixing stage...Taking regular breaks ( who knew the kettle is one of the world's best mixing tools )..again focusing on big picture stuff until it's almost done, I tend to leave my automation passes, tweaking velocites etc. as the last job on the list. I also reference ( using Magic A/B ) - I have a 3 way monitor controller with 3 very different type of speakers connected so I can quickly get 3 different mix perspectives. Listening to a mixed from the next room with the door open can also be enlightening. I also send mixes to 2 or 3 music licensing friends when i'm getting near the end. They often pick me up on stuff and I'm like Duh..how did I miss that. Or I argue with them before admitting they are probably right.

3. I kinda know my process now after making almost 300 tracks for music licensing so I think that helps. Sometimes when I get a bit stuck mix or music wise I switch over into housekeeping mode where I'm just organising my project , labelling stuff, putting tracks into folders..the boring s##t whenI'm not feeling inspired.

Talking of obesession..this track I did called Killer Hurts. I actually finished/mastered it and went back several days later and moved the piano note I'd played at 28s because I'd played it dead on the beat and realised it might sound better if I just nudged it a fraction late..I don't know if anyone would have ever noticed except me but I I was glad I did or I would never have slept !

https://soundcloud.com/user-45178330/ki ... eard-on-tv

Mark

'Good enough' sounds like a good base point, right? Someone (can't remember who) said work until you think it's 80% perfect, then leave it alone for a while. Usually when I do this I come back and that 80 is more like 98. I just can't follow my own advice.
Glad you slept after the piano torment.

[annayarbrough]

I spend no longer than one hour on my mixes. Maybe I’ll check it in the car and tweak like one thing. One hour mixes changed my life.

Sounds like a good practice!

[RPaul]

This is the worst thing about living in NYC. No car to test mixes!

All very interesting. I like your priority list approach of addressing the big things. I've found the very first listen is key for me—I'll write down the main things I notice. Any listen beyond the first, I'm second guessing the minor details and hearing things that aren't actually there....

Yeah, I guess the no car thing would throw a wrench in the car listening test idea. I guess listening on most anything with different speakers in a different environment (beatbox in a park?) could be useful, but the car test is particularly so because you get things like background noise from motion and traffic, a very different speaker layout (and, of course, response), etc.

The multiple listens are to hear it in the context of different reference tracks. However, sometimes the first listen makes obvious what the some of the needs are while turning up others that might exist, and additional listens can help decide on those other needs. (Of course, in all cases, listening again in the studio will be a further confirmation.)

[cosmicdolphin]

I just can't follow my own advice.

Clearly you need to have a very stern talk with yourself