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Old 19th September 2005

Hi Michael,

A few of questions if u don't mind ...

1. Do your recalls sound exactly the same when you come back to them ?

2. How many times will you recall a track( band/a&r wants to make changes )

before you get pissed off ?

3. Do you do 'mix stems' (parts not cells;-)?


Old 19th September 2005
Past Guest Moderator
Michael Brauer's Avatar

My recalls come back exactly. I have a safety pass through input(not off tape) that I use to A/B the recall. I train my guys to listen to many things and take amazing notes so that I am insured an exact recall.

I only recall once. Very rarely do i need a second recall. I don't get pissed, it's not my record.

i don't do stems except for the instrumental and Acapella. There's no point in it. IT takes longer to do stems than it doesn to recall it.
Old 19th September 2005
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wallace's Avatar

Can you give some examples of some things you train your assistants to take note of during a recall?
Old 20th September 2005
Past Guest Moderator
Michael Brauer's Avatar

Originally Posted by wallace
Can you give some examples of some things you train your assistants to take note of during a recall?
Keith(my assistant), you want to answer this one?.Michael

Recalls are my biggest test. If I screwed something up three months ago, a recall is going to expose it. So, the obvious way around that is to not screw up. Michael has a lot of gear patched up and ready to use during a mix. If he mixes three songs in a day, I have a million knobs to notate three times. In order to insure that I don't miss anything, I set up a system of note-taking that doesn't allow me to go to the next piece of gear without it being triple-checked. And I also take notes on everything that is patched in, even if he isn't using it. It's much better to be safe than sorry. I must say, I have the best recall notes in the world. Will Hensley, Michael's second assistant, went through every piece of gear and made a perfect note for each one based on a high quality digital picture. Recalls became easier once that task was complete. It's really nothing more than focused attention to detail. We can do up to four recalls in a day.

Even though I usually take perfect notes and patch bay information, there are still sometimes problems with the recall. Perhaps a channel on the console had a problem when the original mix was done, but was fixed before we did the recall. One time I couldn't get a bass to sound right, and all it took to fix it was replacing a regular patch cable with a Mogami, which was on the original made a huge difference. Another time, I realized that one of my Protools outputs was down 1.5 dB at 10K, even though it was ouputting the proper level at 1K, it was solved by replacing the I/O unit. My job is to find all of these little problems and fix them before Michael sits down to A/B.

We always print a pass into Protools that is in sync with the multitrack, which makes the A/B process a button monitors the original mix, and another monitors what is currently up on the desk, both absolutely in sync. I listen to the acappella pass and A/B it, then the TV track, and then the entire mix. They have to sound identical when I present it to Michael. If something is off, even by the slightest's wrong and he’s going to hear it. Michael isn't happy with me when I miss small details in the recall.

Recalls have also been the catalyst for improving my listening skills. We're forced to listen to every little detail, and eventually, we become very confident in our ears.

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