Originally Posted by Pyro
elaborate if you could?
The biggest challenge on this album was that it is so feature heavy and has a number of different producers. With the features, each artist is used to the way they sound on their own albums and they have to sound like "them". I really had to listen to each artist and sort out what their specific sound was to make sure that I nailed that.
The album also had quite a few different producers and each of them had a different style, approach and sound. We all now how important using the right sounds is to a good mix and this varied a lot from producer to producer as well as the way they processed their sounds. I not only had to make the mixes sound good but make it sound like a whole album. As a mixer you also have to create a mix that the producer, artist, features and label are happy with and sometimes that can be difficult if people have different visions for the track.
Another really difficult challenge is "demo-itis" which is probably the biggest obstacle when mixing any project where "rough mixes" are supplied. Often, the artist and producer has been living with rough mixes for months and although they might be over compressed, distorted or even less than great mixes, they have gotten used to them. You then somehow have to go in, make it sound better but still maintain the integrity of the rough.
Overall, when you have a project that has been in the works for so long and has so many people involved there is a lot of juggling that happens. It did make me a LOT more organized and forced me to create an entirely new workflow when dealing with massive amounts of files that are constantly changing and different versions being sent from multiple places.
BTW... I'm not sure how many of you guys have listened to it but there are a number of classic DnB samples on the album which of course I thought was