With downloadable music becoming as significant as it has in terms of getting music to the public, has this changed the way you think about mixing?
Answer – not a bit! A good mix is a good mix! I’ve been around the block a couple of times. I’ve seen our beloved music recording business go through some critical changes. What I find most promising now, is that musicians, bands and composers, have easy access to recording technology that is far better than at any time in the past. I have a strong belief that the music recording business, is going to be put back in the hands of the people that truly love music for music’s sake.
Music has always seemed to be organic in myself. I think it’s that way, to some degree, in the soul of every human being. That’s why I’m confident that recorded music in the new millennium will emerge at least as strong and healthy, as in the previous. However, I do think that recorded music will always be a wonderful area to work in, in the future, as long as we keep the melody in focus. The song is the important thing. Keep that in mind and we can’t go wrong.
Remember this! “MUSIC FIRST!”
Bruce Swedien is a recording engineer whose credits include working with artists such as Dinah Washington, Michael Jackson, Mick Jagger, Muddy Waters, Duke Ellington, Oscar Peterson, Barbra Streisand, Donna Summer, Count Basie, B.B. King, John Lee Hooker, Paul McCartney, among many others. His first big break came when he engineered Frankie Valli and the Four Seasons’ million-selling single “Big Girls Don’t Cry”, which spent five weeks at number one in 1962. Swedien has conducted classes in music engineering at UCLA as well as lecturing and hosting recording seminars at various universities, colleges and industry organizations in both the US and overseas. He currently resides in Connecticut where he continues to explore aural possibilities and taking on top-level engineering assignments.