I use Pre-insert on individual track channels if it sounds better aswell.Ĭould you speak to the issue of how you achieve movement in a mix (or your philosophy about movement in a mix)? I read in one of your other posts of how you rode a pad in one of the Coldplay mixes. Somebody call for pizza, yah, I'll tell you how I want mine ok? I've been doing it this way for years and maybe, I'm doing something magical where my brilliant brain is automatically compensating for the change in compression and blah blah blah, techitechitechifart. It's all good my friend, just let the fader ride, let it ride. Logic says yes, I should be in prefader because in post fader, it will change as I ride the fader, but in practice, no. Actually, it was more than that, but I just don't have better words to express it.
This past month here was really great for me. I suppose that your reverb/delay sends are pre fader also, meaning that u use uncompressed signal feeding the reverb ? I was wondering, if you use your sends to send to compressor(s), it must be pre fader right? Because if it's post, then your level of send will be unequal every time you move the main fader? Hope that I'm making sense here. For the vocal, you can pan the stereo cue to the center and have a little delay along with the direct signal going to the plate. You can have the gtr sending to the plate w/o delay. Now you control the amount of delay by using the pan. Go out of the mult and into the input of the EMT plate. Take the output of the Right side of a stereo cue and go into the same mult. Take the output of the delay and go into a mult. Take the output of the Left side of a stereo cue and go into a delay (set at 125ms for example). You can hear what I'm talking about by listening to Luther's first two records and Aretha's "Jump to it" and "Get it right" records I recorded and mixed. For those who have real EMT plates, this one's a beauty. On every digital plate you have a predelay option, that's what I'm referring to.īut since you bring up the delayed plate question, it reminds me of a cool idea we did at Mediasound back in the day. Do you mean plates with a predelay, or do you have a plate return that then gets sent to a delay? If it's plate getting sent to a delay, is it 100% of the signal getting delayed (insert) or just some of it getting sent to a delay? I’ll just say that I’m mostly drawn to producers and labels who are doing things slightly differently than the rest, but also keeping things low down and dirty.Thanks so much for taking the time. Bom Shanka Records have always brought some of the best UK underground, also Psynon records, Sangoma and Woo Dog are keeping it up nicely. I need to mention Hypogeo as an innovator who is very unique and an influence on me, along with early Zenon Records. So it’s great being here, everyone’s so helpful and we really look out for each other. Even before then, Wildthings label boss Beardy was mine and my mates favourite DJ, and Southwild recently brought me to tears at a festival. I’m also very fortunate to be on my favourite record label, with artists like EVP, who I first noticed back in 2003, as someone who has constantly funked me up. This is a tough question as it changes all the time, but I’m fortunate to be friends with a lot of the producers I admire, including yourself. Who is your favourite producer(s) and/or personalities of the industry?
To have a personal relationship, then friendship with the people booking you is preferable, also they’re more likely to book you again.ġ2. But after saying all of that, it really does help to do all bookings yourself. So it makes sense to be with an agency from there, in fact I already have an offer to join one. I think that Brazil is one example of a quickly growing scene that will begin to accommodate more underground artists like myself, already they’re getting used to darker and faster styles. Most of the artists getting the most help are much less underground, and tend to be playing bigger, commercial festivals around the world. I’m currently with an agency (Quadra Bookings) who are non-exclusive so I can still operate as I please, so for me my bookings are easy to negotiate and don’t take up any creative time. Personally I wish good luck to anyone who has enough global interest to be helped by an agency, or similar.
#SONIC CHARGE PERMUT 8 PROFESSIONAL#
On that note I’m interested in your opinion on the topic of artists getting professional help to organise or to further their career, with the intention to focus purely on being creative, instead of dealing with bookings or book keeping or things like that?