Journal on the Art of Record Production

A common goal when mixing popular music is to entice an emotional response from the listener, this is intriguing as the actuality of mixing is varied and dependant on personalised technological preferences. This paper theorises that a mix as a performance practice facilitates a connection to more creative paradigms of mixing, and technological development influences possible creative practices. Subsequently, historical and professional evidence of the mix as a performance state is presented and the reader is informed of process via videos of the author’s professional mixing practice. To triangulate the approach, rationales regarding creativity and kinaesthetic imagery are referenced throughout.