![]() His tone is pure, almost Jacksonian, in timbre. It would do you well, when referencing this mix, to notice how distortion is implemented on the chorus’s vocal. ![]() His voice hovers above, unaffected, largely from the distended booming of the low end bass and kick. Somehow the vocal stays present over the fray. And yet, the kick knocks past the bass forcefully, without sounding muddy or clouded. Observe how these elements are placed in the mix, from the weird reverberating keys in the right speaker, to the scream that presages the chorus.Īs for the chorus, you can see it in the Tonal Balance Control analysis above: the bass overwhelms. In the second verse, listen to how sonic flourishes create an atmosphere of dread. ![]() So what is it about this mix that makes for great referencing? Let’s dive in. Indeed, it’s telling that this song became the standout hit off the record, when all business-related signs pointed to “ Can’t Feel My Face” as the breakout single. ![]() Much of what people seem to like about the dirty, distorted timbres of today-the stuff that seems to break all the rules of mixing-can be traced to this mix. To my ears, you can’t find a better inspiration for our current sound than this smash hit. Look at the enduring hits right now on iTunes, Spotify, and Billboard and you’ll note a trend toward the downtempo, the atmospheric, and the distorted.
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