Mixing songs with dramatic dynamic differences

[Dakota]

When I master stuff like that, I might do the soft and loud sections as separate runs with different settings, then stitch the final master together from cutting between both.

There is also the parallel to series compression approach which works well for that kind of thing.

I a have always wondered if you do not request a "double processed and then cross faded in the middle" type of thing will the ME most likely recognize the vast dynamic qualities of the song, and apply that technique. Or should we be saying "Hey, could you process the two halves of this track separately" or will it be done as a stander approach?

Thanks

Dealing with it in some way that in the end sounds good would be standard. For any mastering person that I've ever worked or interacted with, and myself.

It's still always a good idea to have clear and concise written notes about what you want or are concerned about song by song if needed, and give those notes in the package with the mixes. Mastering people want to please the client, get good word of mouth and return business, yadda.

[Nick Sevilla]

+1 agreed w/noeqplease and MoreSpaceEcho - the key thing to get right (or wrong) is getting the lead vocal in a good and proportionate relationship for both dynamic levels of the song.

In any case, it seems to me that most listeners just can't deal with too much *actual* volume dynamic. If a listener has to ride their volume control just to listen through the whole song, annoyance sets in fast.

What I work on in these kind of circumstances is *psychologically perceived* volume rather than actual volume. One can make a section "feel" quiet or hushed by timbre choices rather than turning it down.

If you can, do listen to the following examples :

Any ballad that Frank Sinatra sang. These were all done live, in the same room with the band, so the arrangement supports the dynamics of the song, along with what Frank is doing in the different parts.

Any full arrangement song sung by Nina Simone. Again, on both examples you will always hear a rich full voice, respecting the artists dynamics, and yet getting to the climax of the song via the instrumental arrangements that support the artists rendition of the lyrics.

In other words the band gets louder if Frank gets louder, because the song requires it. The emotion of the words being sung need to be fully embraced in these mixes.

So, do mind the delivery the artist is giving, and support it by the appropriate levels. It can get tricky, but there is a magic place where "soft" can be loud without seeming loud, and the loud can be LOUD without being too much louder than the soft part of the song.

It takes a lot of fiddling, but can be done.

Cheers