The frequency curve feels constrained until the drums/percussion enters and fills out the rest of the spectrum.ДЄs engineers, we basically have three tools for mixing music: Volume, EQ and stereo panning.Д«alancing with volume is obvious: you make a thing louder than something else when itвЂ™s supposed to be louder. Even her edited breaths are used to drive the rhythm track forward. However and whenever she did this, I consider it a prototype for mixing layered vocals with sparse electronic instrumentation. This is the outgrowth of a project Kimbra started when she was 16 and in high school. HereвЂ™s a frequency response snapshot in the chorus, as monitored via Tonal Balance Control. I give mastering engineers all due credit, but I would love to have sat in on the mastering sessions to see what the mixes really sound like. Unless you have the before and after mastering versions of a song, a listener never really knows what magic has happened in the privacy of the mastering suite. Well written, well played and produced-all-in-all, this track represents everything I could ever want in a mix. The editing choices here are key-what parts stay in and what gets left out.Д«y the time Youssou NвЂ™dourвЂ™s vocal enters in the out-chorus, the frequency response curve has nearly flattened, and the amplitude of the piece has reached its zenith but never sounds overly compressed. The well-conceived arrangement is the star here because we can hear the bandвЂ™s natural dynamics as parts enter and depart our focus, always audible, never obscured. In the pre-chorus the compressed/chorused guitars and ethereal background vocals swirl hard left and right, setting us up for the dramatic chorus. Percussion is allowed to fill the far left and right of the stereo image, while the band and PG are firmly centered.

On an RTA, the frequencies are well balanced from 20 Hz вЂ“ 20 kHz.ДЇrom the downbeat, the quality of the recording is evident as the opening percussion gives way to GabrielвЂ™s poignant vocals, which are blended perfectly with the track. The first thing I notice is the smooth frequency response and transparent high-end. For me, itвЂ™s all about the following:ДЄrrangement, recording quality, editing, imaging, balance, and frequency response. This song was a cultural touchstone in the late 1980s, and it was a breakthrough reinvention for Peter Gabriel (PG) as an artist.

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