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Old 6th May 2009
  #22
Lives for gear
 

I am building the mix when I first look at the drum kit and start to mic it.

I am building the mix as soon as the artist tells what they want to record.

I have just been doing this ****e for a long time and I know how to EQ.
I know what works because I have done it right, wrong or half-assed so many times in the past.
EQ just isn't a big decision that needs to be put off.

Obviously you choose the right mic for the job, but that doesn't always do the trick on it's own.
You aren't recording the perfect instrument and the perfect player in every case.

EQ, compression, balancing and everything else involved in a recording has to be grasped as a whole.
Wrapping your mind around everything takes a while.

In my world I have always recorded in as neutral of a way as possible where I don't paint myself into a corner, yet I still have as many options as I need at mix-down.
In other words, my multi-track will have the instruments recorded in a way that is natural to how the instrument speaks on it's own.
If I want to jack it up during ix I can, but on the master recording there is the basic well recorded representation of the instrument.
Using this method you can take the mix anywhere you want.

I'll give some you guys a big hint....
If you have to wait until mix-down to pull the mix/recording together you are working from a dis-advantage.
Your recording needs to sound great as soon as you have the first sounds up.