There is no standard for these effects, nor for the mixing parameters, so to achieve the final result would require, essentially, shipping the workflow for a specific DAW application.ĭepending on how granular someone wants to get, you can break a session for any given pop record into upwards of 60+ channels. Often these mixing and effects parameters is dynamic, changing throughout the song. Then that final drum bus is mixed into the next level. Eg, there might be six mics on a drum kit, and the engineer will work hard to shape the sound mic by mic, changing EQ, reverb, panning, etc, to get the desired effect.
Second, most songs have a great deal of post production - effects are applied to dry tracks often groups of tracks are mixed down to a "bus" track, which is then mixed into the next level of the mixing tree. If they shipped on CD a 20 track song you'd get under 10 minutes of music. 74 minutes of music fit on a standard CD. 30+ tracks is not uncommon (though not all tracks are active for the entire song). One is the problem of distribution of the data - until recently when bandwidth has become inexpensive enough it was prohibitive to send all the tracks.
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