Zach and I had a recently had a conversation about songs with great production. He had heard from someone reputable that in a well-produced track, there shouldn’t really be any more than three “featured” instruments at a given time. As a producer/home-recordist/songwriter, there is always the temptation to fill a mix up with random shit. I start adding beeps and boops to tracks when the baseline (not bass line) of the track doesn’t sound strong enough; it’s a way to mask thin sounds. Back when we started recording Yes Giantess with Ayad, we were doubling up almost every instrument in the mix. Tuff ‘n Stuff must have had three basses, four synthesizers, and who-knows-how-many kick drums going at once. Not to mention all the glitchy, swirling computer sounds that phase in and out.
Sometimes, I like clutter. In that particular song, it works. Partially because we had amazing monitors to make sure we didn’t muddy anything up, but also because in that instance, there were still mainly three instruments being featured. Vocals (it counts!), bass, and keys. You still (vaguely) know what you’re listening to.
More recently, I’ve tried to go as barebones as possible with the new stuff. For a musical pack rat such as myself, I’ve upped the imaginary limit to four instruments. In a new song I did today there is one bass, one keyboard, vocals, and guitar. The idea is to emulate what we actually play in the band. No point in making music we can’t play. To me, it sounds refreshing and clean. It also forces you to think in terms of hooks and melodies, rather than parts and pieces.
It’s by no means a strict code. At the end of the day, do whatever you want if you like the way it sounds. Look at the Polyphonic Spree, or even The Beach Boys. I still can’t tell what all of the instruments are on Pet Sounds, but they sound incredible. So much harpsichord!
-Jan
January 23, 2010, 9:08pm
