{"id":337,"date":"2014-10-15T21:20:28","date_gmt":"2014-10-15T19:20:28","guid":{"rendered":"http:\/\/www.mixedbymarcmozart.com\/?p=337"},"modified":"2019-08-30T22:26:39","modified_gmt":"2019-08-30T20:26:39","slug":"mixing-low-end-shake","status":"publish","type":"post","link":"https:\/\/mixedbymarcmozart.com\/fr\/2014\/10\/15\/mixing-low-end-shake\/","title":{"rendered":"Mixing Low End: \u00ab\u00a0Shake It Off\u00a0\u00bb (Mixed by Serban Ghenea)"},"content":{"rendered":"

[vc_row margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb40″ padding_right=\u00a0\u00bb40″ bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column][vc_column_text]Whether you like it or not, the current music industry is a hit-driven environment<\/strong>. Album-Sales are down<\/a>, and the songwriters, producers and engineers who still earn solid money in this job are the ones that attach their name to a huge worldwide hit-record.<\/p>\n

[wdfb_like_button]<\/p>\n

Regardless of what genre you’re working in, I firmly believe it’s part of our profession to keep an eye on what’s moving the masses, and pay attention to what works commercially, and why.
\nThis is something I expand on in the chapter called References and A\/Bing in the new book<\/a><\/strong> – you need to know where RMS-levels and dynamics are at, what the frequency-curves of mixes are like, and always have current references at hand – especially when your plan is to do something opposite to the current trends.<\/p>\n

2014 will go down in pop-history as the year of Taylor Swift. That is mainly, because contrary to industry trends, Swift sells A LOT OF ALBUMS<\/a>, in fact her album 1989 is the ONLY NEW ALBUM in the US in 2014 to go Platinum (more than 1.000.000 sales). That, connected with the fact that Swift’s label Big Machine Records<\/a> pulled her ENTIRE back catalogue from Spotify, made her the most talked-about artist of the year<\/a> as well.<\/p>\n

A very good reason to look into the lead-single of the album 1989, \u201cShake It Off\u201d, written by Taylor Swift, Max Martin and Shellback, produced by Max Martin and Shellback, mixed by Serban Ghenea.<\/p>\n

Make yourself familiar with the sonics of the track – best to buy it on iTunes<\/a>, it’s a great mix reference.<\/p>\n

The song is also nominated for a \u00ab\u00a0Song of the Year\u00a0\u00bb-Grammy at the upcoming Grammy-Awards.[\/vc_column_text][\/vc_column][\/vc_row][vc_row margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb40″ padding_right=\u00a0\u00bb40″ animation=\u00a0\u00bbfade-in\u00a0\u00bb bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column][vc_single_image image=\u00a0\u00bb507″ img_size=\u00a0\u00bbfull\u00a0\u00bb css_animation=\u00a0\u00bbappear\u00a0\u00bb img_link_large=\u00a0\u00bbyes\u00a0\u00bb][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=\u00a0\u00bbhttp:\/\/youtu.be\/nfWlot6h_JM\u00a0\u00bb][\/vc_column][\/vc_row][vc_row margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb40″ padding_right=\u00a0\u00bb40″ bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column][vc_column_text]\u201cShake It Off\u201d debuted at number one on the Billboard Hot 100 chart of the week ending September 6, 2014, after having one of the most spectacular impacts on Mainstream Top 40 US radio stations in history.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=\u00a0\u00bbtrue\u00a0\u00bb margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb0″ padding_right=\u00a0\u00bb0″ animation=\u00a0\u00bbfade-in\u00a0\u00bb bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column offset=\u00a0\u00bbvc_col-sm-offset-0″][vc_message color=\u00a0\u00bbalert-info\u00a0\u00bb css_animation=\u00a0\u00bbleft-to-right\u00a0\u00bb]<\/p>\n

REMOVING THE DRUMS FROM THE TRACK<\/h3>\n

The DRUMS are based on a 4-Bar live drum-loop that repeats throughout the song, muted at the first four bars in Verse 2 and two bars before Chorus 2.
\nThe loop is the same recording repeated every four bars, I could proof that by being able to completely remove the drum-loop from the mix.<\/p>\n

This is how you remove the drums from the audio:
\n\u2022 import the iTunes AAC to a track in your DAW set to 160 BPM with the track\u2019s level set at unity gain (0dB).
\n\u2022 zoom in on the audio, and move it to align with your grid (first drum hit starts exactly ON a bar)
\n\u2022 cut the four bar drum-loop from the intro of the song
\n\u2022 copy the 4-bar loop to another track and loop it throughout the song
\n\u2022 reverse phase polarity of the drum-loop track
\n\u2022 bounce the sum of both (= your DAWs stereo output) to a new file<\/p>\n

\"How<\/a><\/p>\n

With the drum-loop completely removed from the track it was so much easier to hear what\u2019s going on in the vocals, but let’s take it to the next level.<\/p>\n

SEPARATING MONO AND STEREO INFORMATION<\/h3>\n

Do the following to separate the audio in the middle from the audio that is appearing on the sides in stereo:
\n\u2022 import the file we just bounced (Shake It Off – no drums)
\n\u2022 insert \u201cDirection Mixer\u201d-plugin in the first slot, and \u201cGain\u201d-plugin right below
\n\u2022 set \u201cDirection Mixer\u201d to MS (this puts stereo-signals on the left side, mono signals on the right side, it’s a basic M\/S-decoder)
\n\u2022 on the \u201cGain\u201d-plugin, press Mono and add 6dB Gain
\n\u2022 by turning the balance-pan on the \u201cGain\u201d-plugin to the left, we now exclusively hear the stereo-information of the mix!
\n\u2022 turn the same to the right, and you hear the mono-information of the mix\u2026
\nI’m using Logic Pro X for this, if you use a different DAW, just look for an M\/S-decoder plug-in.<\/p>\n

\"Separating<\/a><\/p>\n

With these different files, the mix analysis is a lot easier. Can you believe we now have an audio file with the (almost) dry lead vocal!<\/p>\n

In comparison to \u201cAll About That Bass\u201d where all the space in the low end was occupied by the double bass, \u201cShake It Off\u201d shows exactly the opposite picture. The kick drum rules!
\n[\/vc_message][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/code><\/code>The backbone of this mix is the incredible recording of the live drum-loop. The kick drum occupies pretty much the entire low end up to 150Hz. The bass, well, there IS NO BASS AT ALL<\/strong> in the verses. A subtle bass plus an electronic Kick is added in the chorus, so let\u2019s go into the details:<\/p>\n

1. The song is written in G major, based on the chord progression<\/strong>
\na minor \/ C major \/ 2 x G major (II-IV-I-I). The tempo is 160 BPM<\/p>\n

2. Bass notes used and their frequencies<\/strong>
\n(referencing musical notes and frequencies<\/a>) link
\nC1 – 32.7Hz (root note to C major, the subdominant chord)
\nG1 – 48.9Hz (root note to G major, the tonic chord)
\nA1 – 55 Hz (root note to a minor, the minor parallel to the subdominant chord)<\/p>\n

3. The bass sound used is a synth bass, and it\u2019s ONLY USED on the chorus.<\/strong>
\nThe frequency-spectrum of the sound used is dominated by both the 1st harmonic and second harmonic, but keep in mind – the bass plays a very minor role in this mix. When it comes in on the chorus, it\u2019s long standing notes that sit way behind the transients of the drums.<\/p>\n

4. List of frequencies occupied by bass and kick drum<\/strong>
\nHere\u2019s the complete list of frequencies:
\n32.7Hz – C1 (fundamental frequency)
\n48.9Hz – G1 (fundamental frequency)
\n49.5 Hz – Synth Kick added in chorus (fundamental root note, tuned to the root note of the song key!)<\/em>
\n54 Hz – Kick (fundamental root note of the verse’s starting chord)<\/em>
\n55 Hz – A1 (fundamental frequency)
\n65.4 Hz – 2nd harmonic of C1
\n68 Hz – Kick (harmonic)<\/em><\/strong>
\n98 Hz – 2nd harmonic of G1
\n110 Hz – 2nd harmonic of A1
\n140 Hz – Kick center (harmonic)
\n152 Hz – Kick sides (harmonic)<\/strong><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=\u00a0\u00bbtrue\u00a0\u00bb margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb0″ padding_right=\u00a0\u00bb0″ animation=\u00a0\u00bbfade-in\u00a0\u00bb bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column offset=\u00a0\u00bbvc_col-sm-offset-0″][vc_message color=\u00a0\u00bbalert-info\u00a0\u00bb css_animation=\u00a0\u00bbleft-to-right\u00a0\u00bb]<\/p>\n

Let\u2019s look at frequency curves!<\/h3>\n

The kick has both punch and clarity, but also an incredibly rich spectrum of resonance frequencies. The direct kick mic is responsible for mono punch and clarity in the middle, with the fundamental root note almost matching the song key (and harmonics at 68 Hz and 140 Hz), while the very 3D sounding room mics of the drum-set appear only on the sides of the mix. This is 100% dissectible when separating stereo and mono information from the the intro drum-loop.
\nThere is also an almost unhearable Synth Kick added on the chorus which shows a resonance at 49.5 Hz, just above the bass note G1.<\/p>\n

This screenshot shows the frequencies used by the drums on the sides. Nothing happening lower than 100Hz, and you can see the harmonic of the kick drums resonance skin at 152 Hz, as captured by the drum room mics.<\/p>\n

\"shake-it-off_kick_room_mic\"<\/a><\/p>\n

Sides of the drums again, on this picture I’m emphasising the kick drum resonance of the room mic at 152 Hz, and also showing the notch right next to it, at 170 Hz. The notch creates space above the resonance in the frequency spectrum which helps the clarity just below 200 Hz.<\/p>\n

\"shake-it-off_kick_room_mic_resonance_and_notch\"<\/a><\/p>\n

The direct mono drum-signals show a completely different picture – lots of low end energy and punch!<\/p>\n

\"shake-it-off_kick_direct_mic\"<\/a><\/p>\n

The mono signal of the kick drum has three resonances (which are emphasized here by an EQ.
\nThe mix gets away with it, as the fundamental frequency of the live kick matches a-minor the starting key of the verse, and the added electronic kick in the chorus matches the root note of the song key G-major. On top of that, there’s no bass in the verses anyway!
\nYou can play this mix loud, it’s not gonna distort. The low-end is a dream.<\/p>\n

\"shake-it-off_kick_direct_mic_resonance_and_notch\"<\/a>[\/vc_message][\/vc_column][\/vc_row][vc_row full_width=\u00a0\u00bbtrue\u00a0\u00bb margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb0″ padding_right=\u00a0\u00bb0″ animation=\u00a0\u00bbfade-in\u00a0\u00bb bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column][vc_message color=\u00a0\u00bbalert-info\u00a0\u00bb css_animation=\u00a0\u00bbleft-to-right\u00a0\u00bb]<\/p>\n

\u00ab\u00a0The backbone of this mix is an incredible recording of a live recorded drum-loop.\u00a0\u00bb<\/em><\/h3>\n

[\/vc_message][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]To sum it up, it\u2019s fascinating how precisely the Kick Drum Set is matched to the key of the song, and the bass notes used. In both songs I\u2019ve looked at, \u201cAll About That Bass\u201d and \u201cShake It Off\u201d, the fundamental frequencies of the two Kick Drums matching the starting chord (in the verse) and the root note of the song key (in the chorus). It is also remarkable, that no bass note and kick frequencies ever step on each other.<\/p>\n

This shows the incredible skill involved in modern pop production, and one vision consequently thought through from composition to final master.<\/p>\n

\u201cShake it Off\u201d is a production with a very minimalistic instrumentation. live drum loop, lead vocal, a few light percussion elements in the verse, and bass, hammond organ and stereo backing vocals in the chorus. A plate reverb on the LVs, an 1\/8-note stereo echo with three repeats that blends into the plate and thats it!<\/p>\n

Oh yeah, and of course the funny brass-sample riff in the verse and some light trombones in the chorus, sitting very unobtrusive in the mix, no lows, no highs.<\/p>\n

The minimalistic instrumentation creates room for immensely powerful vocals and one of the best sounding live drum sets I\u2019ve heard on a Top 40 Mainstream record.<\/p>\n

I’ve also made it a habit to look into the level-correction iTunes does on a track when in \u00ab\u00a0Sound Check\u00a0\u00bb-mode.
\n\u00ab\u00a0Shake It Off\u00a0\u00bb is a fairly loud master, but definitely not squashed or over-compressed.<\/p>\n

It sitting at a fairly average -7,4 dB, values I have seen a lot for mixes by Serban.<\/p>\n

BTW, if you have no idea what iTunes \u00ab\u00a0Sound Check\u00a0\u00bb is, and how to use it for your own mixing, have a look at the Gain Staging-article<\/a>.<\/p>\n

\"itunes_soundcheck_example07\"<\/a><\/p>\n

[wdfb_like_button]<\/p>\n

BTW, my new book \u00ab\u00a0YOUR MIX SUCKS\u00a0\u00bb is available\u00a0now<\/a>…\u00a0<\/strong>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row margin_top=\u00a0\u00bb10″ margin_bottom=\u00a0\u00bb10″ padding_left=\u00a0\u00bb40″ padding_right=\u00a0\u00bb40″ bg_position=\u00a0\u00bbtop\u00a0\u00bb bg_repeat=\u00a0\u00bbno-repeat\u00a0\u00bb bg_cover=\u00a0\u00bbfalse\u00a0\u00bb bg_attachment=\u00a0\u00bbfalse\u00a0\u00bb padding_top=\u00a0\u00bb40″ padding_bottom=\u00a0\u00bb40″ parallax_speed=\u00a0\u00bb0.1″][vc_column][vc_column_text]Whether you like it or not, the current music industry is a hit-driven environment. Album-Sales are down, and the songwriters, producers and engineers who still earn solid money in this job are the ones that attach their name to a huge worldwide hit-record. [wdfb_like_button]…<\/p>\n","protected":false},"author":1,"featured_media":2753,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,4,15],"tags":[],"class_list":["post-337","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-famous-mix","category-mixing-advice","category-music-business","category-13","category-4","category-15","description-off"],"yoast_head":"\nMixing Low End: "Shake It Off" by Taylor Swift (Mix by Serban Ghenea)<\/title>\n<meta name=\"description\" content=\""Shake It Off" mixing tutorial - famous mix series; foundation of the mix, live drum-set loop, no bass in verses, kick drum, harmonics, frequencies\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mixedbymarcmozart.com\/2014\/10\/15\/mixing-low-end-shake\/\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/\"},\"author\":{\"name\":\"marcmozart\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#\\\/schema\\\/person\\\/3da9b6253db05a5664aeee78478e6343\"},\"headline\":\"Mixing Low End: \u00ab\u00a0Shake It Off\u00a0\u00bb (Mixed by Serban Ghenea)\",\"datePublished\":\"2014-10-15T19:20:28+00:00\",\"dateModified\":\"2019-08-30T20:26:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/\"},\"wordCount\":1937,\"image\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/taylor-swift-shake-it-off-video-screenshot_featured_268px.jpg\",\"articleSection\":[\"Famous Mix\",\"Mixing Advice\",\"Music Business\"],\"inLanguage\":\"fr-FR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/\",\"url\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/\",\"name\":\"Mixing Low End: \\\"Shake It Off\\\" by Taylor Swift (Mix by Serban Ghenea)\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/2014\\\/10\\\/15\\\/mixing-low-end-shake\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/mixedbymarcmozart.cdnport.com\\\/2022\\\/04\\\/taylor-swift-shake-it-off-video-screenshot_featured_268px.jpg\",\"datePublished\":\"2014-10-15T19:20:28+00:00\",\"dateModified\":\"2019-08-30T20:26:39+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/mixedbymarcmozart.com\\\/#\\\/schema\\\/person\\\/3da9b6253db05a5664aeee78478e6343\"},\"description\":\"\\\"Shake It Off\\\" mixing tutorial - famous mix series; 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