I love the sound of this record, and the way it comes across as clearer and more up-front,
yet at the same time less abrasive, than strong competitors such as Example’s ‘Changed
The Way You Kissed Me’ or Pitbull’s ‘Give Me Everything’. Part of the trick of
this, it seems to me, is simply that ‘Bounce’ doesn’t have any padding instruments
at all — in other words nothing that exists simply for the purpose of stating the
harmonies. The only harmony in this track is that implied by the way the bass line and
melody fit together, which makes it extraordinarily efficient, sonically speaking. It’s
the old maxim: the less you put into the mix, the bigger each thing can sound.
The production scores highly on other grounds too. The low end is powerful and tight,
although the track doesn’t rely on that — kick and bass come through fine even on a
smartphone’s internal speaker. The high end is airy and extended. The mid-range gets
maximum value out of the 600Hz-1.2kHz octave, so that the lead synth hook has real
substance in the mix and doesn’t need to sharpen the 3-5kHz zone too severely to stay
right in your face. Mono compatibility is also great, despite a decent sense of stereo
width. This is a track I’ll be referring back to for some time.
aspect of the sonics that’s worth picking out as well is the grainy digital effect that
has been applied to the opening synth riff. It’s difficult to reverse-engineer a
treatment like this very precisely, but it sounds to me as if the audio signal is
frequency-modulating itself, and that there’s probably some kind of digital
‘bit-crusher’ in there too, alongside more typical analogue-style distortions.
Whatever the settings, though, it’s creating a slew of additional frequency information
all the way across the mid-range and high end, much of which is not musically related to
the synth notes themselves.
This serves a number of purposes here. Firstly it
allows what are inherently rather pure and simple synth waveforms to pack out the mix
texture to a much greater extent than you’d normally expect. Secondly, the dissonant
frequencies of the effect inevitably blend poorly with the song’s harmonies, which helps
them poke out of the mix in much the same way that a wayward bit of tuning tends to do.
And, finally, it creates a kind of auditory illusion, particularly during the song’s
synth-only intro, that the upper octaves of the mix as a whole are strong and clear, even
though the synth patches themselves are subjectively quite dull-sounding. Analogue
distortions are a more instinctive choice for many people, but this track provides a great
demonstration of how some of the less ‘musical’ digital harmonics-generation processes
can also have their place, especially in electronic styles.
--------------------Recording Secrets for the Small Studio
Mixing Secrets for the Small Studio