Carly Rae Jepsen’s “Call Me Maybe” wasn’t just the inescapable summer anthem of 2012; it was a masterclass in pop music production. While often perceived as bubblegum pop simplicity, the song’s infectious energy and sonic punch are the result of meticulous mixing and sound design. A detailed account from Sound On Sound magazine offers an unprecedented look into the intricate process behind this modern pop classic, revealing a complexity that belies its catchy facade.
The brilliance of “Call Me Maybe” lies not just in its memorable melody or relatable lyrics, but in its sonic architecture. As the original article highlights, those who dismiss such songs for their harmonic simplicity often overlook the true artistry: the sound itself. “Call Me Maybe” grabs your attention from the first beat, a testament to its expertly crafted soundscape. It manages to be both sonically forceful and subtly detailed, a delicate balance achieved through sophisticated mixing techniques. Whether or not you’re a fan of the song, understanding the craft behind it is an insightful exercise in appreciating pop music production.
From Acoustic Idea to Pop Banger: The Evolution of “Call Me Maybe”
Originally conceived as a quiet acoustic track by Carly Rae Jepsen and co-writer Tavish Crowe, “Call Me Maybe”‘s transformation into a pop juggernaut was spearheaded by producer Josh Ramsay. Ramsay’s pop sensibilities were instrumental in shaping the song’s direction, urging Jepsen to embrace a more upbeat, radio-ready sound. After Jepsen and Ramsay laid the foundation of the track, the mixing expertise of Dave Ogilvie was brought in to elevate it to its final, polished form.
Dave Ogilvie’s background is particularly noteworthy. Unlike Ramsay, who is deeply rooted in pop, Ogilvie’s origins are in the industrial music scene. His resume includes work with industrial pioneers Skinny Puppy (as a member) and production credits for iconic bands like Nine Inch Nails, Tool, and Einstürzende Neubauten. This seemingly incongruous background for mixing bubblegum pop hits raises an intriguing question: what does an industrial music veteran bring to the world of mainstream pop?
Ogilvie himself acknowledges the apparent contrast between his musical inclinations and Carly Rae Jepsen’s style. However, he astutely observes that genre boundaries in mainstream pop have become increasingly blurred. This observation rings true in today’s music landscape, where cross-genre pollination is rampant. Ogilvie believes his industrial music experience is not a hindrance but a valuable asset in pop mixing:
I was trying to get the same feel in ‘Call Me Maybe’ as in a Nine Inch Nails song, making sure it had a pop sensibility, but with people not even noticing how aggressive the kick drum is.
This quote reveals Ogilvie’s approach: to infuse the sonic intensity and meticulous detail of industrial music into the accessible framework of pop. Pop music, in its ever-evolving nature, has absorbed influences from diverse genres. Industrial music, with its emphasis on sonic textures and powerful rhythms, is just another, albeit unexpected, ingredient in the pop melting pot. The brutal sonic maximalism inherent in industrial music finds a surprising parallel in the impactful sound of contemporary pop hits.
Unpacking the Layers: The Anatomy of a Pop Mix
In a humorous aside within the Sound On Sound article, Ogilvie remarks, “Compared to a lot of the other pop stuff I mix, this session was quite minimal.” This statement is ironic considering his Pro Tools session for “Call Me Maybe” comprised a staggering fifty-six tracks! While the screencap in the original article doesn’t capture the entirety of the track count, it hints at the density hidden beneath the song’s seemingly simple surface.
For a song that sounds so effortlessly catchy, the sheer number of layered instruments and samples is astonishing. Here’s a breakdown of some key sonic elements:
- The Iconic String Riff: This ear-catching melody wasn’t simply a single string sample. It was constructed from three different sample libraries (Miroslav, Orkester, and EXS24) played simultaneously across at least twelve tracks. Further layers were added with electric and acoustic guitars doubling the riff, and a Mellotron string sample providing yet another texture.
- The Punchy Drums: While the verses feature a single kick drum for rhythmic foundation, the choruses explode with five kick drums—two from Ramsay’s production and three more added by Ogilvie during mixing. These kicks are further reinforced by subsonic synth and bass guitar frequencies, creating a powerful low-end presence.
- The Snappy Snare: The snare sound is a complex blend of textures, combining two different handclaps, a Roland TR-808 snare, and a sampled “real” snare drum. A subtle “ghost snare” adds further rhythmic nuance.
- Drum Track Density: In total, “Call Me Maybe” boasts nineteen drum tracks. Beyond the kicks and snares, this includes a crash cymbal, hi-hat, and four full drum loops, contributing to the song’s rhythmic complexity and drive.
- Layered Bass: The bass foundation is solidified by doubling the bass guitar with two distinct synth bass tracks, adding depth and weight to the low end.
- Vocal Harmonies and Depth: Carly Rae Jepsen’s vocals are meticulously layered. Every vocal part is doubled or tripled through overdubbing, resulting in a total of eleven vocal tracks. This layering creates a rich, full vocal presence that is central to the song’s appeal.
Each of these individual sound elements is further processed with a combination of hardware and software EQs and compressors. The Sound On Sound article provides an exhaustive list of the specific gear and plugins used, offering a treasure trove of information for aspiring producers and engineers interested in replicating or understanding these techniques.
Vocal Presence: Centered, Wide, and Upfront
Ogilvie’s approach to Carly Rae Jepsen’s vocals is particularly noteworthy. He strategically placed the three overdubbed lead vocal tracks in the stereo field: one in the center, one panned hard left, and one hard right. This technique ensures that the lead vocal is always prominent, regardless of where the listener’s attention is directed within the stereo image. The vocal is consistently “in your face,” a key characteristic of modern pop mixes designed for impact on various playback systems.
Despite the extensive processing applied to Jepsen’s voice, Ogilvie notably avoids excessive Auto-Tune. He credits Jepsen’s natural pitch accuracy as a factor, but also expresses a preference for retaining some imperfections, allowing for a more organic and distinctive vocal performance. This approach contributes to Jepsen’s vocal sounding unique within the often heavily processed landscape of pop vocals. While polished, her voice retains a recognizable character, setting her apart from singers whose vocals are overly corrected and homogenized.
Technology and Musicianship: A Positive Feedback Loop
Ogilvie offers an insightful perspective on the impact of technology on musicianship, challenging the common narrative that technology diminishes musical skill. He argues:
[M]usicians and singers have become much better because of advances in technology. They understand timing and tuning on a much deeper level and have incorporated that into their performances. I really like that.
This observation suggests a positive feedback loop: technology provides tools for precision and control, which in turn encourages musicians to develop a deeper understanding of timing and tuning, ultimately enhancing their performance abilities. The availability of tools like DAWs and plugins has undoubtedly influenced modern musical performance, pushing musicians to refine their skills in ways that were less emphasized in pre-digital eras.
Conclusion: The Artistry of Pop Production
Analyzing the mixing process of “Call Me Maybe” reveals the dedication, technical expertise, and creative vision that goes into crafting a seemingly simple pop song. The breadth of sample libraries, effects processing, and sheer sonic experience that mixers like Dave Ogilvie bring to pop production is truly impressive. While programming a basic four-on-the-floor beat might be straightforward, shaping it into the impactful kick drum sound of “Call Me Maybe” requires significant creative and technical resources.
The production of pop music, often dismissed by “serious” music aficionados, deserves recognition and respect. “Call Me Maybe” serves as a compelling case study in the artistry of pop production, demonstrating that beneath the surface of catchy melodies and relatable lyrics lies a world of sonic detail, meticulous craftsmanship, and undeniable skill. The next time you hear “Call Me Maybe,” listen beyond the hook and appreciate the intricate sonic tapestry woven by Dave Ogilvie and the team behind this iconic pop song.
