Recording - June 2019 - 50
Vance at
Powell
What monitors do you mix on?
I use the Studio 100 from ProAc.
Do you have other alternate monitors to check
mixes on?
Those are pretty much all I have mixed on for the last
12-15 years, those and more often than not my Yamaha
NS-10s. I also have a set of Atomic Industries Reactors, the
big boys, for blasting the client.
What format did you mix from?
This record was initially cut on Jack's 2" 8-track, and then
it was transferred over to Pro Tools for edits and overdubs,
so the record came to me as a 24/96 Pro Tools session.
It was recorded using Burl converters at Third Man; I also
have Burl converters here, so I mixed it with those as well.
You mentioned that your SSL still has the original
computer automation. Do you still make use of that, or
do you do do most of your automation in Pro Tools?
I absolutely use the console automation the whole time. I do not
use any Pro Tools automation, unless it's in a [pre-mixed] group, or
something that I do not have enough physical channels for.
I know from our previous interview that you are
comfortable working in a hybrid approach and are
a fan of plug-ins, Universal Audio in particular. Did
you use any plug-ins on the album while mixing?
On this record, Jack's original edict was that he really did
not want to use plug-ins for things. The reality was, though,
that when Josh and Brendan were tracking the record, they put
some plug-ins on things to initially sort of shape the tone, like
adding brightness to a guitar or whatnot. In a few places, we
left that, because it just ended up being the right sound.
Most of the time, however, we used the EQ from the desk,
and anywhere they might have used a compressor plug-in, I
took that off and re-did it analog.
As far as effects are concerned, it's all just Fulltone Tape Echo
or my Echoplate 3 plate, no plug-ins. On the song "Hey Gyp,"
the drums are going through a MasterRoom 301 spring reverb.
Photo Courtesy of GPS Management
So the initial tracking was just 8 tracks... how
many tracks of drums?
When you started mixing, did you hear roughs or
demos first?
With the exception of one song, the whole album came
to me with just two tracks of drums.
VP: Nope, no demos. Everyone was here in the room, and I just
thew up the faders and got a balance I liked on my big speakers.
Then we just listened for what was missing, and everyone threw in
ideas. Then I would go from my big speakers down to my ProAcs
for mixing, and then end up on the NS-10s for automation.
We would fire up the FM transmitter and Jack would go out
and listen to the mix in his car. Sometimes I would print a mix
and make a 24/44.1 WAV file to put on a USB drive, and he
would take that out to his Tesla.
Wow, cool!
Yeah, so if you wanted more kick drum, you just had
to boost 80 to 100Hz, and if you wanted more hi-hat or
cymbals, you would add some 10kHz.
Josh did a great job tracking it, and Patrick's a great drummer. He plays really balanced so it worked out really well.
50 RECORDING June 2019
Recording - June 2019
Table of Contents for the Digital Edition of Recording - June 2019
Fade In
Fast Forward
Focal Trio11 Be
Eric Loomis—From live sound to Ivy Hall
Test Tones & Metering
Handy Hardware
Cool Controllers
Stellar Soundware
First Look: KRK Systems ROKIT 5 G4
Vance Powell on mixing The Raconteurs' Help Us Stranger
Steinberg Cubase 10
Plug-In Outlet: Puremagnetik Plug-ins
Lynx Studio Technology Aurora(n)
Studio 101. Part 17: Studio controllers
Readers’ Tracks
Fade Out
Recording - June 2019 - Intro
Recording - June 2019 - Cover1
Recording - June 2019 - Cover2
Recording - June 2019 - 1
Recording - June 2019 - 2
Recording - June 2019 - 3
Recording - June 2019 - Fade In
Recording - June 2019 - 5
Recording - June 2019 - 6
Recording - June 2019 - 7
Recording - June 2019 - Fast Forward
Recording - June 2019 - 9
Recording - June 2019 - 10
Recording - June 2019 - 11
Recording - June 2019 - Focal Trio11 Be
Recording - June 2019 - 13
Recording - June 2019 - 14
Recording - June 2019 - 15
Recording - June 2019 - Eric Loomis—From live sound to Ivy Hall
Recording - June 2019 - 17
Recording - June 2019 - 18
Recording - June 2019 - 19
Recording - June 2019 - 20
Recording - June 2019 - 21
Recording - June 2019 - 22
Recording - June 2019 - 23
Recording - June 2019 - Test Tones & Metering
Recording - June 2019 - 25
Recording - June 2019 - 26
Recording - June 2019 - 27
Recording - June 2019 - Handy Hardware
Recording - June 2019 - 29
Recording - June 2019 - 30
Recording - June 2019 - 31
Recording - June 2019 - 32
Recording - June 2019 - 33
Recording - June 2019 - Cool Controllers
Recording - June 2019 - 35
Recording - June 2019 - 36
Recording - June 2019 - 37
Recording - June 2019 - 38
Recording - June 2019 - 39
Recording - June 2019 - Stellar Soundware
Recording - June 2019 - 41
Recording - June 2019 - 42
Recording - June 2019 - 43
Recording - June 2019 - 44
Recording - June 2019 - 45
Recording - June 2019 - First Look: KRK Systems ROKIT 5 G4
Recording - June 2019 - 47
Recording - June 2019 - Vance Powell on mixing The Raconteurs' Help Us Stranger
Recording - June 2019 - 49
Recording - June 2019 - 50
Recording - June 2019 - 51
Recording - June 2019 - 52
Recording - June 2019 - 53
Recording - June 2019 - 54
Recording - June 2019 - 55
Recording - June 2019 - 56
Recording - June 2019 - 57
Recording - June 2019 - Steinberg Cubase 10
Recording - June 2019 - 59
Recording - June 2019 - Plug-In Outlet: Puremagnetik Plug-ins
Recording - June 2019 - 61
Recording - June 2019 - Lynx Studio Technology Aurora(n)
Recording - June 2019 - 63
Recording - June 2019 - Studio 101. Part 17: Studio controllers
Recording - June 2019 - 65
Recording - June 2019 - Readers’ Tracks
Recording - June 2019 - 67
Recording - June 2019 - 68
Recording - June 2019 - 69
Recording - June 2019 - 70
Recording - June 2019 - 71
Recording - June 2019 - Fade Out
Recording - June 2019 - Cover3
Recording - June 2019 - Cover4
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