“Simplesmente vou com o que me parece bom”. Variedade e coincidência na prática das mixagens do heavy metal

Palavras-chave: música popular, música metal, mistura, produção discográfica, padronização, estética

Resumo

O heavy metal é um gênero que se define pela transgressão, geralmente por intermédio da busca musical do pesado. Parece interessante que esse critério normalmente aceito para definir o gênero e que implica na ideia de progresso, esteja em conflito com as sugestões recentes de que a produção de heavy metal tem sido padronizada cada vez mais, o que é um obstáculo para a sua evolução musical. Esta pesquisa, com base em entrevistas com oito produtores importantes do heavy metal, estuda os enfoques de mixagem dos profissionais para determinar se coincidem com a suposta padronização. A pesquisa encontra enfoques comuns que são resultados dos requisitos técnicos da engenharia de música rápida, complexa e sonoramente pesada. No entanto, existem importantes alternativas entre as que os produtores escolhem para conseguir alcançar os resultados estéticos desejados. Um gênero polifacético como o metal, com seus diversos subgêneros, requer mais de um enfoque de produção, e a combinação única e a aplicação matizada desses enfoques facilitam resultados originais. Levando isso em conta, pode-se considerar que os diferentes enfoques, processos e técnicas de produção evoluem junto com os subgêneros e estilos musicais, para dar apoio na busca da transgressão e o pesado do gênero.

Downloads

Não há dados estatísticos.

Referências

Anthony, B. (2017). A Final Guiding Hand: A Practice-Based Study into the Evolving Role of Third Party Mixers. IASPM Journal, 7(2), 41-47. Doi: 10.5429/2079-3871(2017)v7i2.7en

Auvinen, T. (2017). A New Breed of Home Studio Producer? Agency and the Idea ‘Tracker’ In Contemporary Home Studio Music Production. Journal on the Art of Record Produc-tion, 11. Retrieved from https://www.arpjournal.com/asarpwp/a-new-breed-of-home-studio-producer-agency-and-the-idea-tracker-in-contemporary-home-studio-music-production

Bennett, S. (2019). Modern Records, Maverick Methods. London: Bloomsbury.

Berger, H., and Fales, C. (2005). Heaviness in the Perception of Heavy Metal Guitar Timbres: The Match of Perceptual and Acoustic Features over Time. In P. Greene and T. Porcello (Eds.). Wired for Sound (pp. 181-197). Middletown: Wesleyan University Press.

Creswell, J. (2013). Qualitative Inquiry and Research Design: Choosing among Five Ap-proaches. London: SAGE.

Dale, P. (2016). Popular Music and the Politics of Novelty. London: Bloomsbury.

Deeks, M. (2016). National Identity in Northern and Eastern European Heavy Metal (doctoral thesis). University of Leeds, Leeds, UK.

Filho, J. C. (2010). From Performance to Recording: Assumptions of the Aesthetics of Rock Debate. E-Compós, 13(2), Doi: 10.30962/ec.491.

Flick, U. (2010). An Introduction to Qualitative Research. London: SAGE.

Herbst, J.-P. (2017a). Historical Development, Sound Aesthetics and Production Techniques of the Distorted Electric Guitar in Metal Music. Metal Music Studies, 3(1), 24-46. Doi: 10.1386/mms.3.1.23_1

Herbst, J.-P. (2017b). Shredding, Tapping and Sweeping: Effects of Guitar Distortion on Playability and Expressiveness in Rock and Metal Solos. Metal Music Studies, 3(2), 231-250. Doi: 10.1386/mms.3.2.231_1

Herbst, J.-P. (2019). The Formation of the West German Power Metal Scene and the Ques-tion of a ‘Teutonic’ Sound. Metal Music Studies, 5(2), 201-223. Doi: 10.1386/mms.5.2.201_1

Herbst, J.-P. (2020). From Bach to Helloween. ‘Teutonic’ Stereotypes in the History of Popu-lar Music. Metal Music Studies, 6(1), 87-108. Doi: 10.1386/mms_00006_1

Herbst, J.-P. and Bauerfeind, K. (2021). Teutonic Metal: Effects of Place- and Mythology-based Labels on Record Production. International Journal of the Sociology of Leisure, 4, 291-313. Doi: 10.1007/s41978-021-00084-5

Herbst, J.-P. and Mynett, M. (2021a). Nail the Mix: Standardization in Mixing Metal Music?. Popular Music and Society, 44(5), 628-649. Doi: 10.1080/03007766.2021.1957544

Herbst, J.-P. and Mynett, M. (2021b). (No?) Adventures in Recording Land: Engineering Conventions in Metal Music. Rock Music Studies. Doi: 10.1080/19401159.2021.1936410

Herbst, J.-P. and Mynett, M. (2022a). Towards a Systematic Understanding of “Heaviness” in Metal Music Production. Rock Music Studies, 10(1), 16-37. Doi: 10.1080/19401159.2022.2109358

Herbst, J.-P. and Mynett, M. (2022b). What is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers. Popular Music and Society, 45(5), 633-653. Doi: 10.1080/03007766.2022.2114155

Herbst, J.-P. and Mynett, M. (2023). Mapping the Origins of Heaviness between 1970-1995: A Historical Overview of Metal Music Production. In J.-P. Herbst (Ed.). The Cambridge Companion to Metal Music. Cambridge: Cambridge University Press (forthcoming).

Izhaki, R. (2013). Mixing Audio. London: Focal Press.

Kahn-Harris, K. (2007). Extreme Metal. Oxford: Berg.

Keightley, K. (2001). Reconsidering Rock. In S. Frith, W. Straw and J. Street (Eds.). The Cambridge Companion to Pop and Rock (pp. 109-142). Cambridge: Cambridge Universi-ty Press.

Krotz, A. and Hodgson, J. (2019). Mixing for Markets. In R. Hepworth-Sawyer and J. Hodg-son (Eds.). Mixing Music (pp. 140-152). London: Routledge.

Marrington, M. (2019). The DAW, Electronic Music Aesthetics, and Genre Transgression in Music Production: The Case of Heavy Metal Music. In R. Hepworth-Sawyer (Ed.), Pro-ducing Music (pp. 52-74). London: Routledge.

Martin, A. (2015). The Role and Working Practice of Music Producers (doctoral thesis). Uni-versity of Hull, Hull, UK.

Moore, A. (2019). Tracking with Processing and Coloring as You Go. In R. Hepworth-Sawyer (Ed.). Producing Music (pp. 209-226). London: Routledge.

Moylan, W. (2002). The Art of Recording. Amsterdam: Focal Press.

Mynett, M. (2016). The Distortion Paradox: Analyzing Contemporary Metal Production. In A. Brown, K. Spracklen, K. Kahn-Harris and N. Scott (Eds.). Global Metal Music and Culture (pp. 68-88). London: Routledge.

Mynett, M. (2017). Metal Music Manual: Producing, Engineering, Mixing, and Mastering Contemporary Heavy Music. London: Routledge.

Mynett, M. (2019a). Defining Contemporary Metal Music: Performance, Sounds and Practic-es. Metal Music Studies, 5(3), 297-313. Doi: 10.1386/mms.5.3.297_1

Mynett, M. (2019b). Heaviness in Three Dimensions: The Use of Sonic Space in Contempo-rary Metal Music Production. In S. Zagorski-Thomas, K. Isakoff, S. Stévance and S. Lacasse (Eds.), Art of Record Production: Creative Practice in the Studio (pp. 66-79). London: Routledge.

Mynett, M. (2020). Maximum Sonic Impact: (Authenticity/Commerciality) Fidelity-Dualism in Contemporary Metal Music Production. In S. Zagorski-Thomas and A. Bourbon (Eds.). The Bloomsbury Handbook of Music Production (pp. 293-302). London: Blooms-bury.

North, M. (2013). Novelty: A History of the New. Chicago: University of Chicago Press.

Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to its Own Past. London: Faber and Faber.

Savage, S. (2014). Mixing and Mastering in the Box. Oxford: Oxford University Press.

Schmidt-Horning, S. (2013). Chasing Sound. Baltimore: Johns Hopkins University Press.

Thomas, N. (2015). The Development of Technology and its Influence on Recorded Heavy Metal Music 1969-2015 (Ph.D. thesis). University of Hull, Hull, UK.

Thomas, N. and King, A. (2019). Production Perspectives of Heavy Metal Record Producers. Popular Music, 38(3), 498-517. Doi: 10.1017/S026114301900031X

Turner, D. (2009). Outlining the Fundamental Production Aesthetics of Commercial Heavy Metal Music Utilising Systematic Empirical Analysis. Art of Record Production Confer-ence. Retrieved from https://www.artofrecordproduction.com/aorpjoom/symposiums/21-arp-2009/117-turner-2009

Wallach, J., Berger, H. and Greene, P. (2011). Affective Overdrive, Scene Dynamics, and Identity in the Global Metal Scene. In H. Berger, J. Wallach and P. Greene (Eds.). Metal Rules the Globe (pp. 3-33). Durham: Duke University Press.

Wallmark, Z. (2018). The Sound of Evil: Timbre, Body, and Sacred Violence in Death Metal. In R. Fink, M. Latour and Z. Wallmark (Eds.). The Relentless Pursuit of Tone (pp. 65-87). Oxford: Oxford University Press.

Walser, R. (1993). Running with the Devil. Hanover: Wesleyan University Press.

Zak, A. (2001). The Poetics of Rock. Berkeley: University of California Press.

Publicado
2023-02-24
Como Citar
Herbst, J.-P., & Mynett, M. (2023). “Simplesmente vou com o que me parece bom”. Variedade e coincidência na prática das mixagens do heavy metal. El oído Pensante, 11(1). https://doi.org/10.34096/oidopensante.v11n1.10704