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ARTICLE
I’m often asked at Mastermix HQ about the production techniques we use to create our mixed content. This includes remixes, mash ups and mixes – the latter being the shorter mixes that feature on our monthly issue – plus the longer mixes like Grandmasters and Sessions.
The initial process involves a lot of research and development to choose the right mixes for track-listing the audio that will be used to make up the finished mix. Once all the audio has been cleared, it is collated and forwarded to the producer assigned to that particular mix so they can work their magic.
In this article, I want to explore how professional music producers create the exclusive remixes, mixes and mash ups that appear on Mastermix, but without giving all the secrets away!
I’m joined by Mastermix producers Jon Hitchen, Justin Preston, Paul Chambers and Gary Gee, who give a brief insight into the various tools they use to create their productions. I’ll also offer some advice to anyone thinking of submitting a mix for consideration by us.
Paul Chambers: The flow of tracks and the mix points are crucial, especially key mixing. I’ve created a number of mixes recently that have used the radio edits or 7” versions with many having no mix in or out points, which makes things very challenging. Attention to detail is essential and I take time to explore all options of how to include these types of tracks into a final mix.
I’ve had a few head-scratching moments, but after trying every possible combination I always manage to find a solution that maintains the overall. Mixing like this requires a lot of editing, sometimes cutting up the track into many sections as well as crossfading instead of beat-matching and adding additional production behind the tracks, just to get the link of one or two seconds to sound right to an audience, who probably won't ever notice!
Jon Hitchen: A mix without key clashes or beats falling out of sync. Sometimes smooth transitions work best, other times chop and drop with samples in. It all depends on the style and feel of the mix you're creating. It’s essential to create a mix that works for DJs and their audiences.
Justin Preston: Relevance! If I produced a ‘Euro Pop 91’ mix, would anyone play it? Any mix must have a start, middle and end, lots of energy, and it needs to flow. Track selection is key and can make or break a mix. Any producer must understand how a mix will work on a live audience, as what may work in the studio may not transfer well to a dancefloor.
Richard Lee: Modern technology makes mixing live easier than ever, but a studio-quality mix is a totally different animal and used correctly can be a useful addition to any DJ set. I always encourage the Mastermix production team to create their mixes with the DJ firmly in mind, which is why Mastermix offers a wide range of mixes aimed at differing styles, music themes and DJs. A good mix is one that’s been thought out and produced to the highest quality using the best tracks.
During my 20+ years at Mastermix, I have repeatedly asked producers the same question when they submit a mix: would you use it? If the producer doesn’t believe in their own work, then why should a DJ? Test the mix, research the mix, deliver the mix. Producing something that can’t be recreated easily in a live environment, but is DJ and audience friendly, is a good mix.
Gary Gee: For me, a good mix is about smooth transitions, keeping the music in key, moving through the BPMs slowly. This isn’t always possible, especially when you only have 10-15 minutes to bang in 15 tracks! For this type of mix I try to throw in a few surprises without going over the top.
Jon Hitchen: I’ve used many different products over the years, but I favour Cubase – my current weapon of choice.
Gary Gee: It was 1999 when Cheyne Coates, the lead vocalist in Madison Avenue, said to me, “Gary, Dahlink! Have you heard those awful bootlegs of our song? My vocal is all out of key.” I replied by asking, “How would you put the vocals in key?” “Sound Forge Dahlink, Sound Forge!” she screamed.
I immediately purchased a copy of Sound Forge and that was it! I use it to this day and 90% of the production work I do is made in Sound Forge 15.
I prepare each track by putting it through Mixed In Key and I recently discovered the delights of RipX and Spectralayers, which help me create vocal elements and audio stems for my work.
Paul Chambers: I mainly use Ableton Live on the Mac. It's geared up for DJ mixing and live work, so it’s perfect for my productions. I've used this for many years in a studio production environment, as well as for my DJ mixes, but I also use Acid Pro, Reaper and Logic Pro.
Many of us use a range of virtual studio technology (VST) plug-ins, but we tend to change digital audio workstations (DAWs) less often – I like to select a DAW dependant on each project. Whilst there is some excellent software out there, I find the programs can be inaccurate when spotting harmonic components, including relative major or minor, so I also use a piano keyboard alongside my software library.
For Mastermixes, it does have to be either Ableton Live or Acid Pro. I started off with Acid Pro when I first bought a PC back in 1998, and I learnt it inside out. I still use that original Windows 98 version today! It’s rock solid, it works fine, and it's incredibly simple, but sticks with what it does best.
Justin Preston: I mainly use Ableton because it has everything I require to create my mixes.
Richard Lee: We use several software options to check the overall quality of all mixes before release, including Wavelab. This software allows us to master each track and the final mix to ensure the final quality is the best it can possibly be. The software we use for this process is the un-sung hero in the production chain.
Jon Hitchen: PC, Focusrite Saffire Pro 40 Soundcard, KRK Rokit 8 monitors.
Paul Chambers: In the good old days we only used Akai Samplers and Atari computers to do everything! Mine had 16MB of memory (yes, 16-meg!) which could just about store a track in stereo. We then multi-tracked and edited when the first audio recording software came along. This was quite a ground-breaking way of doing production and mixes away from tape, as you had total control over sampling and the tracks you were using.
I remember using one of the very first Pioneer CDJs before they became mainstream in the mid-2000s. It was a very early model, but I could pitch and loop CDs, which was ground-breaking, even though it was the size of a small oven. These days, software does all of that, so a decent computer and monitors replace many pieces of hardware, which still live in my studio but are seldom used.
Gary Gee: In the studio I have a Pioneer RMX-1000, Pioneer DDJ-FLX6, Akai APC Mini, Akai MPK Mini, KRK Monitors, and KRK Subwoofer. I also own a powerful Windows-based computer that I built over seven years ago, specifically for music production, which is coupled to a Yamaha mixer/USB interface. An Apple Mac serves as back-up.
The initial process involves a lot of research and development to choose the right mixes for track-listing the audio that will be used to make up the finished mix. Once all the audio has been cleared, it is collated and forwarded to the producer assigned to that particular mix so they can work their magic.
In this article, I want to explore how professional music producers create the exclusive remixes, mixes and mash ups that appear on Mastermix, but without giving all the secrets away!
I’m joined by Mastermix producers Jon Hitchen, Justin Preston, Paul Chambers and Gary Gee, who give a brief insight into the various tools they use to create their productions. I’ll also offer some advice to anyone thinking of submitting a mix for consideration by us.
So, what makes a good mix?
Paul Chambers: The flow of tracks and the mix points are crucial, especially key mixing. I’ve created a number of mixes recently that have used the radio edits or 7” versions with many having no mix in or out points, which makes things very challenging. Attention to detail is essential and I take time to explore all options of how to include these types of tracks into a final mix.
I’ve had a few head-scratching moments, but after trying every possible combination I always manage to find a solution that maintains the overall. Mixing like this requires a lot of editing, sometimes cutting up the track into many sections as well as crossfading instead of beat-matching and adding additional production behind the tracks, just to get the link of one or two seconds to sound right to an audience, who probably won't ever notice!
Jon Hitchen: A mix without key clashes or beats falling out of sync. Sometimes smooth transitions work best, other times chop and drop with samples in. It all depends on the style and feel of the mix you're creating. It’s essential to create a mix that works for DJs and their audiences.
Justin Preston: Relevance! If I produced a ‘Euro Pop 91’ mix, would anyone play it? Any mix must have a start, middle and end, lots of energy, and it needs to flow. Track selection is key and can make or break a mix. Any producer must understand how a mix will work on a live audience, as what may work in the studio may not transfer well to a dancefloor.
Richard Lee: Modern technology makes mixing live easier than ever, but a studio-quality mix is a totally different animal and used correctly can be a useful addition to any DJ set. I always encourage the Mastermix production team to create their mixes with the DJ firmly in mind, which is why Mastermix offers a wide range of mixes aimed at differing styles, music themes and DJs. A good mix is one that’s been thought out and produced to the highest quality using the best tracks.
During my 20+ years at Mastermix, I have repeatedly asked producers the same question when they submit a mix: would you use it? If the producer doesn’t believe in their own work, then why should a DJ? Test the mix, research the mix, deliver the mix. Producing something that can’t be recreated easily in a live environment, but is DJ and audience friendly, is a good mix.
Gary Gee: For me, a good mix is about smooth transitions, keeping the music in key, moving through the BPMs slowly. This isn’t always possible, especially when you only have 10-15 minutes to bang in 15 tracks! For this type of mix I try to throw in a few surprises without going over the top.
What software do you use to create your mixes?
Jon Hitchen: I’ve used many different products over the years, but I favour Cubase – my current weapon of choice.
Gary Gee: It was 1999 when Cheyne Coates, the lead vocalist in Madison Avenue, said to me, “Gary, Dahlink! Have you heard those awful bootlegs of our song? My vocal is all out of key.” I replied by asking, “How would you put the vocals in key?” “Sound Forge Dahlink, Sound Forge!” she screamed.
I immediately purchased a copy of Sound Forge and that was it! I use it to this day and 90% of the production work I do is made in Sound Forge 15.
I prepare each track by putting it through Mixed In Key and I recently discovered the delights of RipX and Spectralayers, which help me create vocal elements and audio stems for my work.
Paul Chambers: I mainly use Ableton Live on the Mac. It's geared up for DJ mixing and live work, so it’s perfect for my productions. I've used this for many years in a studio production environment, as well as for my DJ mixes, but I also use Acid Pro, Reaper and Logic Pro.
Many of us use a range of virtual studio technology (VST) plug-ins, but we tend to change digital audio workstations (DAWs) less often – I like to select a DAW dependant on each project. Whilst there is some excellent software out there, I find the programs can be inaccurate when spotting harmonic components, including relative major or minor, so I also use a piano keyboard alongside my software library.
For Mastermixes, it does have to be either Ableton Live or Acid Pro. I started off with Acid Pro when I first bought a PC back in 1998, and I learnt it inside out. I still use that original Windows 98 version today! It’s rock solid, it works fine, and it's incredibly simple, but sticks with what it does best.
Justin Preston: I mainly use Ableton because it has everything I require to create my mixes.
Richard Lee: We use several software options to check the overall quality of all mixes before release, including Wavelab. This software allows us to master each track and the final mix to ensure the final quality is the best it can possibly be. The software we use for this process is the un-sung hero in the production chain.
What hardware do you have in your studio?
Jon Hitchen: PC, Focusrite Saffire Pro 40 Soundcard, KRK Rokit 8 monitors.
Paul Chambers: In the good old days we only used Akai Samplers and Atari computers to do everything! Mine had 16MB of memory (yes, 16-meg!) which could just about store a track in stereo. We then multi-tracked and edited when the first audio recording software came along. This was quite a ground-breaking way of doing production and mixes away from tape, as you had total control over sampling and the tracks you were using.
I remember using one of the very first Pioneer CDJs before they became mainstream in the mid-2000s. It was a very early model, but I could pitch and loop CDs, which was ground-breaking, even though it was the size of a small oven. These days, software does all of that, so a decent computer and monitors replace many pieces of hardware, which still live in my studio but are seldom used.
Gary Gee: In the studio I have a Pioneer RMX-1000, Pioneer DDJ-FLX6, Akai APC Mini, Akai MPK Mini, KRK Monitors, and KRK Subwoofer. I also own a powerful Windows-based computer that I built over seven years ago, specifically for music production, which is coupled to a Yamaha mixer/USB interface. An Apple Mac serves as back-up.
What’s your favourite piece of equipment in your studio?
The full review can be found in Pro Mobile Issue 111, Pages 36-42.
