"The main thing that Josh wanted me to do during my mix of 'Call Me Maybe' was to make the kick drum really prominent and punchy. He wanted me to do everything I could to make it super-special. I think I spent a good couple of hours on the kick drum alone, and kept pushing myself to create the ultimate kick drum, and have it super-loud and driving the track. When I finished the mix, I thought it really was very, very loud, and I was a little apprehensive about the power of the bottom end, wondering whether I'd gone too far with it for a pop song. But Josh and I looked at each other and said: 'This is what we are shooting for.' So we printed it like that and when I later heard it on the radio I was like, 'Wow, this is awesome.' It seems to work because of the space in the track, which I was careful to leave, which means that you can hear the punch the kick drum is intended to have on computer speakers and in cars and in stores, in fact pretty much everywhere.
"My background in industrial music definitely helped in achieving this. I was trying to get the same feel in 'Call Me Maybe' as in a Nine Inch Nails song, making sure it had a pop sensibility, but with people not even noticing how aggressive the kick drum is. It was the same thing with the strings, which are canned, taken from a Miroslav sample bank, an Orkester patch and an EXS24 patch. I find that it's so easy for strings to get lost in a track. You often mix them to a level where you think they are good, and later you hear them on the radio and you think, 'Man, I should have put them up a dB or more.' Josh and I both knew that the strings provided a big hook for the song, and so he had doubled them with electric and acoustic guitars to make them sound beefier and more aggressive. I mixed these guitars in just behind the string samples, so you don't really consciously notice them, but they definitely gave the strings more kick. I normally wouldn't think that strings and guitars would combine well like that, but in this case it gave the strings such an aggression and a striking sonic image. We had to get over our fear of mixing the strings and kick too loud and for them not to drown out the vocals, which were the third crucial element. The vocals also had to be clear as day and aggressive-sounding.”
Comments
"My background in industrial music definitely helped in achieving this. I was trying to get the same feel in 'Call Me Maybe' as in a Nine Inch Nails song, making sure it had a pop sensibility, but with people not even noticing how aggressive the kick drum is. It was the same thing with the strings, which are canned, taken from a Miroslav sample bank, an Orkester patch and an EXS24 patch. I find that it's so easy for strings to get lost in a track. You often mix them to a level where you think they are good, and later you hear them on the radio and you think, 'Man, I should have put them up a dB or more.' Josh and I both knew that the strings provided a big hook for the song, and so he had doubled them with electric and acoustic guitars to make them sound beefier and more aggressive. I mixed these guitars in just behind the string samples, so you don't really consciously notice them, but they definitely gave the strings more kick. I normally wouldn't think that strings and guitars would combine well like that, but in this case it gave the strings such an aggression and a striking sonic image. We had to get over our fear of mixing the strings and kick too loud and for them not to drown out the vocals, which were the third crucial element. The vocals also had to be clear as day and aggressive-sounding.”
It was cinematic and faux-rock all at once.
did a few NIN remixes i liked, i think