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    So as you record you mix along at the same time. Do you have some kind of a structure or working methods for the mixing afterwards?George Massenburg : I’ve got maybe three different ways for starting from scratch, of what to bring up, and how to bring things up.One is listening to a reference or a demo of the song. Prince Charles Alexander at Berklee showed me this—he used to be Puff Daddy’s engineer/producer: Bring up all faders until the loudest thing on the demo is the same thing as the loudest thing on the mix. So you bring it up to -30, -25, -20, and then you refine the whole mix against the demo.Another way is to bring up the lead vocal and the most important supporting instrument like piano or acoustic guitar, electric guitar or whatever. You start with that and then you fill in the cracks underneath it. Another way, and the way I do jazz, is full rhythm section, a little bit of a balance, full saxes, a little bit of a balance, trumpets, a little bit of a balance, and then balance the three on the sub-masters, because jazz is a different thing. You need internal balances in the sections. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading
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