Items18The creator’s order
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Maiden VoyageFreddie Hubbard’s trumpet sits on the left and George Coleman’s tenor sax on the right. When both horns state the theme, try following each timbre on its own. The spread gives the two instruments a place to share the melody without losing their separate identities.0 - 2
Whole Lotta LoveIn the middle break, the riff leaves a space for high theremin notes and lower guitar sounds to move around. Follow those swoops across the mix until the riff returns. Jimmy Page and Eddie Kramer moved the sounds while mixing, so there is a performance to hear in what the controls are doing.0 - 3
RibbonsStart with the voice in the center. About half a minute in, another lead appears and the two separate slightly. The voice draws back to the center and then opens out again. The size of those changes makes the lyric feel as though it moves closer and farther away.0 - 4
Take a Stroll Thru Your MindThe lead begins in the center, then slips to one side while an echo answers from the other. About two minutes in, a new singer comes forward with a far more direct, centered sound. Hearing the earlier parts travel makes that voice feel unexpectedly close.0 - 5
1983... (A Merman I Should Turn to Be)Stay with the long instrumental passage after the sung part. Guitar effects change size and position until the sound starts to suggest a world underwater. Follow one wobbling sound until it fades, then pick up the next one from somewhere else in the mix.0 - 6
PonyListen past the bass sound to Timbaland’s snare pattern. The main hit has company at the sides. One side has a higher hit, the other a lower one, and the lower one sometimes lands on its own. The groove gives you several different sounds to follow while the singer stays in focus.0 - 7
Help MeMitchell’s voice and guitar stay near the center. Listen to the electric piano on the left and the lead guitar on the right as they put little remarks around her. The placement lets you hear the backing players react without having to take your attention off the singer.0 - 8
Bohemian RhapsodyThe operatic section sends voices across the stereo field. Pick a short exchange and listen to where the answer turns up. The spread lets the layers act like a cast of characters, even when several parts arrive within a few seconds.0 - 9
Ten Cuidao’The percussion and guitars keep placing accents across from one another. Around two minutes in, listen for the ridged scrape of the güiro and where the mixer makes it move. That little solo is a good place to hear the spatial game the rest of the arrangement has been playing.0 - 10
DisciplineRobert Fripp and Adrian Belew’s guitar lines occupy opposite sides. Try following one while the other repeats and changes beside it. The two can blur into a single part, but their separation lets you hear when a note from one pattern ends up in a gap left by the other.0
