Quote:
Originally Posted by TheArchitect  Recording prominent parts hotter and vice versa makes no sense though. Thats what faders ar efor. |
Well I read about the concept from Michael Brauer. Actually, it was a post on here! Here was his comment ...
"Mixing records by Jay Messina is a perfect example. I don’t need to see his name to know it’s his work. You can get a good mix by taking the length of a pencil to pull up all the faders to ‘0’. I barely touch the EQ’s and if I want to put a different take on the mix, the sounds are easy to mold to my liking. I’ll look down the length of the console when the mix is complete and it’s the same every time with Jay’s work, all the faders are lined up in a straight line. That is the way we learned to record at Mediasound. We’d put all the monitor returns to ‘0’ and panned accordingly. All rides and levels were done in the recording process. At a later date, when it was time for overdubs, you or another engineer just needed to put all the faders up to ‘0’ and you had back the exact feel of the song in ten seconds. There was no pressure or surprises of trying to get that great rough back to how it sounded on the tracking date. It also made mixing a breeze."
I believe Michael Barbiero was at MediaSound at the same time Michael Brauer was. Correct me if that is wrong! I have talked with Barbiero quite a lot (he mixed a project I was involved with) and really respect his and Mr. Brauer's work. I was curious if there are any other pros/cons other than what he mentions.