You mixed a record that produced back in 93. The Artist was Tashan, and the song was "Control of me". I learned a lot from that mix because you took my production to the next level. I never got to tell you that but I'm glad that you might be reading this.
You and Ron Banks are the best engineers that I've worked with, and he spoke of you highly as well.
Like sitting at a bar and firing away with questions but no, yawning or looking at his watch and 'errrr.. actually I gotta go..."
Lucky luck lucky! - Yes we are!
GREAT fromat! Really man just brilliant....congrats on what has turned out to be the best Q&A format I have seen on the web. I'm sure Michael really appreciates it too that the forum is not going berserk with bloated responses and tangents.
Another week is coming to an end. One week left for me. I wasn't sure I was going to last a day and now I'm wondering if I'm going to go into withdrawal when next week ends my little visit here.
I hope my advice is translating to those with studios on a smaller scale. I've purposely avoided talking gear because what's the point if you don't own it. It's more important to discuss the thinking process that leads to using one reverb over another. Why mix one song dry, and the next day mix a song with tons of reverb? I'd like to see some questions that address the decision making process.
I’m up for talking about how to substitute one piece of gear with a plug in or cheaper toy and get the same result. When I'm in a studio with a little amount of toys, I still get what I want because I adapt my ideas to what is available. I want to make sure those of you with budget studios get as much out of all this as those with big facilities.
Last friday I mentioned I was getting ready to start a 12 mix/5 day session. This week was a blurr. I thought I was ahead of schedule yesterday so I finished around 7 and went to dinner with my manager, artist, producer and record label president. Half way through dinner, as I’m draining my second Mohito, I say “so ten done, two to go” and the producer says no nine done, three to go. I look at him with that, I just smelled something bad, look on my face and ask is today Thursday? Yes. Christ, today is a “3 dayer"! So, I cancelled my third Mohito, finished dinner at 10pm and went back in to mix the tenth song. But all is well. Some songs were easy to mix and others had to be refocused involving a fair amount of rearrangement and lots of dynamic rides to help the transitions. It’s an excellent record. If anyone is interested to hear it when it comes out, they are called “The Open” on Loogerecords. They aren’t trying to be commercial which I found very refreshing. It’s a bit dark with a certain underlying tension through out the songs. Some of the songs are just great rockers.
Jules, my greatest thanks for the extra work you are putting in to supply me with excellent questions.
Just managed to catch up with this month's forum. Fantastic! Thanks a lot, Michael. Wish I'd made the time earlier in the week - just spent 3 days mixing one song that should've take 5-6 hours at the most (if I read all the posts). Client's over the moon though.
Funny that one of the threads mentions the New Radicals "You Get What You Give". Last year I produced a dancehall/reggae cover of that track for a label in France. They hated it. Turns out they weren't familiar with the original... go figure.
Superb Michael - thanks for doing this, compelling reading, I actually finish the paragraphs then read again, it's very very interesting - you have such a great outlook on everything, very positive and constructive.
Sorry to say I've been too occupied to read much of this till today. You really shared a boatload of great insights on the common pratfalls and pitfalls that face the modern era mix AE. Your work attitude is wonderful and spot on, IMHO.
Cracking up looking at your "Towers of Doom" right now... Looks like Ronny St. Germains rig on steriods.
God bless, and continued good luck and good fortune brudder.
Haha, thank you. It's funny you bring up Saint. He's an old Mediasound buddy. I turned him on to my master tech that built my rig, Vincent Gutman of Marc Inc.,
So Saint get's his stuff put into two tiny little rigs the size of my drawer and comes by one day, looks at the addition of two new racks, shakes his head and says "You're out of control Brauer, You're out of CONTROL!"
I laughed, I told him he was jealous, just wait.
Two years later, look what he's got. One of his cases looks like he's carrying a Jaccuzzi in it. I love him, i'm just teasing.
Thank's again Michael for your time and thanks for all the questions that everybody asked (I had no idea what I wanted to learn here but I still took away alot of info.).
Octavarium has to be one of the most dynamicly filled Dream Theater albums of all time, very emotional mixs. Mr. Marino did a wounderfull job of keeping it that way too. One of those records I'll listen to for some time to come.
Wow it's been a blast this month. Thanks a bunch Michael....
Studio based primates around the world are blessed to have people as knowledgable, enthusiastic, honest and open as you around. Yay for gearslutz also and you guys for great questions and responses. I'm buzzing with the 'possibilities' generated by you guys this month...
Michael, you took time for sooo many aspects of a mixing engineers work from artistic work, business decisions, human behaviour, technical questions and the most important: having fun doing, what you do.
Thanks for this pile of information and insight on your approach. I am shure, everyone learned new tricks and tactics - and positive attitude.