MP24d.jpg

 

mpbanner6a32.gif

HomeMusic BusinessCopyright InfoStart PublishingPublishing DealsCONTRACTSProductionSelling BeatsAudio EngineerMixingGet Radio PlayFREETESTIMONIALSPhotos & ClientsContact usBUY NOW

MIXING MUSIC FOR RADIO
(Without needing much Mastering) with Alvin Speights
 

Alvin Speights - Mix Engineer / Producer - has won 4 Grammy Awards; TLC’s Fanmail and for the Acoustic Soul project by India Arie. His mix production magic can also be heard on releases by OutKast, 112, Madonna, Michael Jackson, Pretty Ricky, B-5, Goodie Mob, JT Money, Keith Sweat, Boyz II Men, BeBe Winans, Yolanda Adams, Jagged Edge, Monica and many others.  Alvin has also mixed numerous successful movie soundtracks

Alvinsmall.jpg

al-07.jpg

FREQUENCIES & PHASE

 

How do you approach mixing a song that is being prepared for radio play?

 

See when I'm mixing, especially for urban radio songs, I consider that when the song plays on radio, only certain frequencies (the frequency response) will play; the full frequency scope is not the same as a CD.  The frequency response will not be the full 20 Hz to 20,000 Hz (20Khz) frequency range. So this means that for the mix to have a strong impact, you can't stack up your instruments and sounds in all of the same frequencies... you have to move things around like a pyramid... so everything can be "in-your-face", and everything can be heard.

 

Explain to us what you mean by this "like a pyramid"

 

What I'm saying is that, it's like a picture of a pyramid, and everything has its place on that pyramid - Panning, frequencies, processing, and phase.   See, everything can't occupy the same "space"; frequency-wise; color-wise, etc.  This means that where some sound is dominating one frequency... another sound can't.  So either you have to move the sound colorization (frequency) above another sound or below it