![]() That’s completely up to you, so the best approach to choosing a reference track is to experiment and follow your ears. In general, you want to choose a reference track that demonstrates the best qualities you’d hope for in your own mix. The beauty of reference tracks is that you can use almost any audio material, as long as it fits into your workflow and provides good comparison. Listen critically to the most important features of your mix and the referenceįor a deeper dive into how to do effective mix referencing, check out our guide.Toggle back and forth directly using “solo in place” if you can.Match the volume of the reference with your track as closely as possible.Using reference tracks is easy if you remember a few basic rules: You might not have caught these issues if you didn't take a step back to mix reference. Maybe you'll realize the vocals don't need quite so much reverb or that the drums are too compressed. Maybe you'll discover you've been overhyping your upper midrange, or turning your bass synth up to loud. Checking in with a reference track as you work is one of the best ways to avoid it.Īll you need to do to use a reference track is drag it into your mix session and set up a way to toggle back and forth.Īs you go you’ll get a sense for the critical features you need to compare to evaluate your sound, you’ll see why this technique is so useful. It’s easy to get lost in your mix and lose your sense of direction. Many pro engineers have go-to reference tracks they rely on to bring their work closer to their vision for the final mix.īy comparing back and forth between a reference track and your mix, you can evaluate the changes you need to make for a better finished product.īy comparing back and forth between a reference track and your mix, you can evaluate the changes you need to make for a better finished product. Reference tracks are recordings with desirable sonic features that engineers use to evaluate their work-in-progress mixes. In this article I’ll explain what reference tracks are, how to choose your own and some of my top picks for different mix situations. They’re an incredibly useful tool to help you judge your mix objectively.īut what are reference tracks? Which ones should you use, and how do you work with them? Reference tracks are how you get that perspective. To get good results you need to know what you’re up against-and how to work around it. To request additional information Ask a Librarian.Even if you have acoustic treatment, quality monitors and great headphones, there’s always a bit of guesswork in the final stages of your mix process. The Library of Congress may or may not own a copy of a particular film or video. Jazz on the Screen is a reference work of filmographic information and does not point to digitized versions of the items described. Suggested credit line: Library of Congress, Music Division. Jazz on the Screen reflects the opinions of its author, David Meeker, and not the views of the Library of Congress. ![]() The content of Jazz on the Screen: a Jazz and Blues Filmography by David Meeker is copyrighted by David Meeker and used here by permission of the author. The written permission of the copyright owner and/or other rights holder (such as holder of publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemptions. The Library of Congress is providing access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes. To request additional information Ask a Librarian ( ). Interviews with Kenny Burrell, Ray Anthony, Johnny Mandel, Monty Alexander, Clark Terry, Dean Mora, James Lincoln Collier, John Dankworth and Cleo Laine, Annie Ross, Artie Shaw (archival), Chris Riddle and Jack Parnell.ĭefining film and tv clips, many from Soundies and Telescriptions, of Benny Goodman, Duke Ellington, Louis Armstrong, Count Basie, Paul Whiteman, Artie Shaw, Cab Calloway, Sidnet Bechet, Ella Fitzgerald, Peggy Lee, John Dankworth, Dizzy Gillespie and Oscar Peterson. "Whispering" by Richard Coburn, Vincent Rose, John Schonberger, performed by Paul Whiteman and his Orchestra "You took advantage of me" by Richard Rodgers, Lorenz Hart, performed by Bing Crosby "West End blues" by King Oliver, performed by Louis Armstrong "Strange fruit" by Lewis Allan, "Any old time" by Artie Shaw, performed by Billie Holiday. Made-for-TV programme or made-for-video/DVD release. Information from: "Jazz on the Screen" by David Meeker. ![]()
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