![]() This occurs again at 6:50-though with monstrous guitar tones underpinning the lyrics. If you solo the lows in Tonal Balance Control, you’ll hear this bump is the bass-you can hear how clear it is, with everything else staying out of its way.ĥ:39 into the tune, you’ll note the prevalence of softly-sung vocals and a doubling, whisper-low guitar over a sizeable band the balance is impeccable, you can hear every word, and yet it is understood to be quiet. On the Tonal Balance Control graph pictured above, check out the bump just below 100 Hz. ![]() Note how he positions the strings in this arrangement-not overwhelming or spread out in the stereo field, but positioned just far back enough for emotional mileage. ![]() Wilson is a sentimental operator: he always goes for the gut. You can reference this mix knowing you’re competing against a fellow mixing engineer, not a mastering engineer. “The Raven that Refused to Sing” is one such tune. Often, you know what you’re hearing has been untouched by the mastering engineer. ![]() Instead, he mixes them for the final release. Some of his records aren’t even “mastered” in the conventional sense. I find him particularly interesting because he frequently mixes his own music-and does a great job of it. Steven Wilson is an interesting figure in the world of rock, though he also belongs to prog, metal, and electronic styles.
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