Anticipation

I touched on anticipation in a previous post… i.e. the idea of adjusting aspects of your track early in the production phase, in anticipation of the effect of subsequent phases and processes. I hadn’t really considered this concept much until I wrote that post, but it’s recently got me thinking more about anticipation, and where else I could use it to improve my tracks and production process.

My tracks are becoming too complex. My recent Cantana tracks are a case in point. I wrote both of them with the intention of adopting a kind of ‘back to basics’ / ‘kiss‘ type of approach… i.e. minimal style, fairly sparse instrumentation with few sound layers… the idea being to see how quickly and simply I could put a reasonable-sounding track together using the skills I honed over 2016. Ironically, they turned out to be the exact opposite… among the most time consuming, and complex (in terms of production and process, if not sound) tracks I’d ever written. Reflecting on this, I think part of my problem is not anticipating things properly… Cantana 2 in particular ended up with around 5-6 layers of low-level background instrumental and percussion sounds, intended to add some depth and complexity to the sound. I added all these layers in the very early stages of writing before I’d added any spatial effects like reverb and delay. The problem was that when I did come to add reverbs and delays towards the end of the mix process, doing so just made the mix and general sound too full. There were already so many of these small parts and sounds in the background of the track, that were was not enough room for them to co-exist with the reverbs and delays. To fix it I basically ended up just pushing down the level of all these small parts in the mix… to the point that I wonder whether removing them completely would have sounded any different.

My mistake was not anticipating the effect of reverb and delays at the early stage. I think I was so caught up in worrying that the mix sounded too thin, that I just kept adding more and more of these small layers, not realising that a lot of the space they were consuming would have been consumed by spatial effects anyway. And it caused me headaches in the long run, because as a result of all these layers, the track turned out very dense both in terms of frequency and dynamic, making it more difficult to mix (i.e. compress, EQ, and level, and to get enough separation between the different layers).

Ofcourse another potential remedy to the problem is to actually build in the reverbs and delays right from the start. I expect this is the approach a lot of other producers would take. For me, for some reason I do like having some distinction between ‘phases’ of the production process… I think also because I’m working on an older PC, and there’s a benefit to consolidating and sharing CPU-hungry effects (especially reverb) between multiple sound elements (which is easier to do in a single stage).

Going forward I’m going to make a conscious effort to allow the track to sound thinner and more sparse than I think it should, in the early stages of coming up with ideas… anticipating that these gaps will be filled by the addition if things like reverb and delay later in the process. In fact to help enforce that idea I’m going to try and compose the track 95% using only Korg Volcas, which implicitly limits the number of layers I can create.

Hopefully that will allow me to finally move towards tracks which are simpler, and quicker to finish.

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