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Old 19th July 2011
  #1
Here for the gear
 

Mixing the 'Memory man ' album by Aqualung

Hi Eric,
Thanks for being so open with your answers on this forum, your work is an inspiration to many people.
I wanted to ask you about your mixing work on the "Memory man" album by Aqualung.
Back in 2007 I was covering the bass player's paternity leave and did a fair chunk of touring to promote that record so I know it very well, and badgered Matt for any mixing details!
I also heard some of the raw tracks that they'd recorded in London before sending it over to you to mix in LA and am very curious about how you managed to put your (amazing) sonic stamp on it.

• Use of EQ., Matt mentioned that you were very fond of using quite large EQ boosts but with a very narrow Q., Is this how you manage to get such amazing separation and definition in very dense mixes?

• How different was it mixing something that you hadn't had a hand in the tracking and did it take a lot of wrangling to get it into shape e.g Re-amping etc...

• At the time you had stopped using a console and were using a hybrid workflow but mainly mixing ITB.
Can you share how you were incorporating the outboard into your workflow? Were you running them as inserts or recording the processed signals back into your DAW for further tweaking?

• In an earlier post about drum tracking you touched on your process of combining the compressed close drum mics with the uncompressed room mics/overheads and about how important it is to get the relationship right between them
Could you expand a bit more on your drum workflow please and also, do you send any verbs through the same (parallel) compression chain as the drum bus to gel everything together?

• Could you talk about your use of verbs/delays/ambiences to help get the pin sharp separation in your mixes.

Sorry for the question overload
Many thanks in advance

JT