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I edit all the tracks, get rid of all
the noise, do whatever kind of fade-ins needed, and deal with
problems. After that, I start working on the drum sound.
These days,
when you’re working in the box, your scratch mix can be the starting
point of your mix. If it’s one of those things that was written in
the studio, you probably have a pretty good scratch mix already going
on that you wanna work off of. But I normally start from scratch and
I try to get the drum mix as clean as possible. I want every nuance
of every instrument to come through and also try to get rid of every
nuance that I don’t like; tom ringing for instance.
Once I have a
really good mix on the drums, I will keep going back and tweaking
things as more instruments are put into the mix. A lot of times when
you’re soloing things, you’ll actually give it more low end and
fullness than it really needs to be in the final mix. So I try to
keep that in mind.
So you don’t end up with a very
muddy or boomy drumkit in the end if you…
If you’re EQing the drumset by itself, after a while you kind of know not to go there (adding more low end)
because you know what works by experience. You wait until you have
more things in the mix going on.
So I usually start with the drums,
and whether you’re using room mics on the drumkit, or a plug-in
reverb, the reverb is going to tell the story of the song. That’s
your ambiance that the rest of the band might be in. For me that’s a
big issue of where the song is going.
So along with the drums I’ll
also be looking at the vocals. If I personally tracked the song I
already have an idea of where to go. But I usually start with the
drums and start building. I spend a lot of time on the bass. For me,
the low end is the most important, and the hardest. It’s kind of that
thing you have to wrestle with a little bit and really get dialed in
correctly. Otherwise it’ll be too subby or too obnoxious. You won’t
hear all the notes. So that’s where I start, it’s the whole
foundation of the song.
So when you’ve got the drum reverb
going, would you say you try to fit the rest of the instruments like
they were inside that same room?
Ah, sometimes yes, sometimes no. If
you’re going for that sound, then yeah, that’s the reverb I’ll be
using on the guitars and other rhythms. I’ll probably be using less
reverb on the guitars and more delays and interesting little nuances
though. But it could be possible that there’s no reverb on the rest
of the instruments and there’s only delays, the drums only having
reverb or it’s just the room mics going. Then it’s all about the
vocals, the vocal reverb and trail delays. It just really depends on
what the song is and where it’s going.
What’s your take on compression? Do
you slam things, or do you like to let them breathe?
When it comes to actual tracking with
compression I use minimal compression to add a little extra body and
keep things in check. But I don’t slam stuff ever, just minimal low
ratios. Bass guitar, vocals, acoustic and lead guitar. Around 2dB on
2:1 ratio for control. I’m not opposed to putting things to a higher
ratio, but I usually don’t. I’m looking for the nuances of the
instrument and sometimes compression will rip all that out of the
instrument.
A lot of people do the drum compression thing but I
actually don’t. I play with it every once in a while, usually only
in the mix, never on the way in. I am very well known for my drum
sounds. I love them too, they’re alive and real. But you have to have
a good drummer that plays consistently.
The drummer that hits the
kick drum really light and then on every first beat of the measure
cracks the hell out of it is going to be very problematic. You get
some super high end and then you get it super dull for the rest of
the song. That’s stuff you have to pull out a lot of tools to try to
fix.
If you’re going to use compression it’s to tailor the sound, not
to fix the sound. So I don’t really do the whole stereo room mic
squash. I play around with it but it’s not a necessity for me.
So you’re not a big fan of the New York Compression Trick?
When it’s done right it’s great. One of
the problem I see in today’s home studios is everybody thinks they
have to use compression on everything. They don’t even understand
what compression is so they use presets that has no reference to what
they’re working with. And they got 24 channels of compression going
on and they’re wondering why their mix sounds like a wet dog. The reality is that you just destroyed all of your audio with something
that you don’t know how to use.
I use subtle stuff. A lot of times I
really watch the detection circuit, whether I’m rolling off into the
detection circuit or not. Then when it comes to mixing if there’s
something that needs to be taken care of, if it needs to be brighter
I’ll use 1176 or if needs a warmer sound I’ll use a LA2A. I’ve been
really getting into subtleties of gear. But I’m never really digging
in more than 2-3dB.
So when you have your levels and
pans set and got a rough mix going, what kind of effects are you
using to take your mix from good to great?
My philosophy on effects is whatever
you need that song to be what it is. But when it comes to production
value , what I think is brilliant production is when you have tons of
effects going on but to the average ear it’s not noticeable. And
that’s brilliant.
So super short delays and subtle chorusing?
All sorts of crazy
stuff. Maybe you might have a different reverb in a chorus or you
have this one delay that comes in at this little section on the
vocal. The subtleties that makes the listener know that the mix is
breathing, but they don’t know why. For some reason this mix sounds
better than this other mix that just sounds static throughout.
When I have the freedom to do production and really go at it, I’ll do things
like that. It’s never to purposefully do random stuff, only if it
calls for it and adds to the song. That’s the key, Does it add? Does
it take you somewhere else? Because if it doesn’t there’s no point in
having it in there, it just clutters everything up. I’ll spend my time
really working on subtle things.
But a lot of it is just delay,
chorus, a little bit of reverb, not too much reverb. I might be using
a doubler effect or something that changes stuff up. It’s more about
moving the effects around in real-time than having all these
different parts. The same goes for arrangement, whether it’s
background vocals or when stuff comes into the song. It’s the same
thing. If it’s always on at all times it’s kinda boring, but if it
pops in here or if that little background part is moving or panning
across. Answer and call responses going all over the soundscape gives
the listeners ear a treat.
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