Get to know your space and system with Referencing!
All producers reference, that is have a collection of songs or song excerpts that they have listened to on many systems and know how that sound translates to any recording they carry out using different spaces and equipment.
For example if a sound booth absorbs an above average amount of bass. When a mix is performed it may sound great in the room but when played on another sound system will have too much bass. The engineer/producer has overcompensated due to the lack of bass in the sound booth. In this case if the engineer/producer referenced using their collection. They know how the sound should be, they would have noticed the lack of bass and been aware to not to overcompensate. Check the mix on any other even crappy stereo and check.
Producers may also reference Genre. If they want a glam rock feel they will break out the Poison, Motley Crue or Bon Jovi band files. Musicians may be said to reference. They listen to the songs/artists that they like and while most will call these their influences, it is referencing as they will include traits of their influences in their playing. You can even consciously reference yourself into playing a style by constant listening to that style (note: this is not true for some artists such as Robbie Williams, self harm may occur).
Kens Assignment Presentation
Congratulations to Ken for his presentation on the rather unpalatable subject of Stock, Aitkin and Waterman. Everyone probably knows them as the machine that produced a string heart throb releases in the 80’s (Kylie Minogue, Banarama, Rick Astley). As Ken says “Over produced club orientated grooves with apple pie values” or “over produced and under performed”. This takes me back to discussions about overproduction resulting in the deletion of all the human elements; in this case creativity comes to mind. It is no secret Stock, Aitkin and Waterman also made heavy use of auto tune on the artists’ voices. Steve informs us an Eventide Harmoniser is the culprit with an effect dubbed the “Kylie” effect.
Despite this Stock, Aitkin and Waterman had massive success as Ken describes they were saleable, marketable and good songwriters but flooded the market and took advantage of their artists.
References:
Music Technology Forum-EMU Adelaide Uni, Lect:Steve Fieldhouse
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