Recording - October 2009 - 13

Normally the average mix takes 5–6 hours total. Producer Mike Elizondo would come into the studio three hours into the mix with his suggestions, and at that point when he felt happy about the mix we would email a copy to Australia at 4pm every evening for the A&R and artist to hear. So the process took a bit longer than average. What are your most important tools when you mix besides your experience and your ears? Having a clear direction of where I want the track to go. It’s based on upfront input from the artist, producer and A&R. I try to keep things in the back of my head that have been mentioned early on in the process. “…We have to have aggressive guitars…..” or “…Make sure the lyrics are clear and intelligible for radio…”. One technical issue I rely on is speakers and a room I can trust. I use Tannoy, Yamaha and Auratone speakers. I also reference to older mixes I’ve done and know intimately, to make sure the bottom end is right or the vocal levels are correct. I spend a good amount of time listening very quietly for balances and detail. I also spend a fair amount of time listening in mono because you really can learn a lot about instruments clashing, and certain vocal syllables that might jump out that you wouldn’t catch in stereo. In our last interview, ten years ago (Feb. 1999), you said, “A lot of the digital stuff is really cold sounding, and I think anything you can do to warm it up is good—put it through an old Pultec, an old stomp box, we’re going to mix it to analog. If you get at least one generation of analog paint in the chain, I think it warms it up. There’s something about the top end on these digital machines, especially the older ones, that I find really unmusical. It seems okay when you have one track of it, but when you have 24 tracks of that same kind of digital chopped-off and fuzzy top end, your record gets small and grainy.” Have things improved to your ears in recent years, or do you still feel that a “generation of analog paint” is vital to retaining the warmth and beauty of your mixes? Digital recording has come a long way since that interview. I do all my recording at 24/96k so that helps a lot. However, I still like to print to analog tape if the budget allows. If I have the luxury I even print to 2-track 1" tape as opposed to the standard 1/2". It’s pretty amazing sounding, so true to the mix but fat sounding. Recent albums I’ve PHOTO BY CJ HICKS done with Manchester Orchestra, the White Stripes, My Morning Jacket, The Raconteurs and Donavon Frankenreiter were all mixed to 1". Given the recent tendency to purchase music track by track rather than album by album, is mixing an entire album becoming a lost art? Whether I’m mixing an album or a single or a B-side, everything gets the same care and attention. The biggest issues are the budget restrictions placed by the major labels. In some cases the indies and artist-funded projects are more focused on time and quality. It seems like major labels are cutting costs at every corner, just simply to cut costs. Sometimes $1000 added to the budget for mixdown tape will put up a serious red flag to the label. Ads for recording gear may say something like “Anyone can mix a record” Where does that leave the professional mix enginer? I see the mix engineers’ objectivity, creativity and passion still very much in demand. It can be very important to bring someone into the project who has no attachment and who can offer a fresh and neutral viewpoint. Just like with mastering, there are people who I really trust to always be able to add just that extra little bit that makes a song come to life. Any words of advice for our readers about mixing? Yes, come at it with a clear direction. Know what makes the song tick and what is important to preserve. It’s feel that we all respond to, not necessarily perfection in sound—that is important. If the song has life and personality it will sound great. Conversely, sometimes when a track sounds great it may not grab your attention. It’s always about vibe and character and capturing your attention. Pay great attention to the vocals because ultimately it’s all that anyone really hears. Learn more about Joe Chiccarelli’s current and upcoming projects at http://www.studioexpresso.com/profiles /joechiccarelli.htm RECORDING OCTOBER 2009 13

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Recording - October 2009

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