RIDING THE TRIPLE J WAVE

RECORDING OCEAN ALLEY

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Issue 59
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By

March 21, 2019

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Artist: Artist Name

Album: Album title

While many top end mixers have a pre-workout routine that can include a lot of prep work; like conforming a session to a preferred template, replacing existing plug-ins with preferred options or stripping them out to the bare track, Leslie Braithwaite reckons it’s all non-essential for getting the mix right and working fast. What’s important? Giving the artist what they want, which can usually be found in the rough mix.

“Whenever someone sends me a session, the first thing I want to know is: Has the client been listening to the rough?” explained Braithwaite. “If they’ve been listening to it for a long time, I’ll put it on a track in the session, so I can really scrutinise it and lock into what they love about this rough. Then I can A/B it with what I’m doing. Someone who has been listening to a rough for a long time is not going to want something radically different. Especially in my world — the hip-hop, R&B and pop world, where I work with artists like Cardi B and Beyoncé — this is really important.

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  • Pros

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  • Cons

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  • Summary

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CHECKLIST:

WHAT TO LOOK FOR WHEN BUYING A TAPE MACHINE

  • “It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before!

  • “It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before!

  • “It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before!

  • “It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before!

LIGHT UP ’N’ EASY

“It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before! It means I have more freedom during the mix. Pharrell and Mike also normally send me sessions without many plug-ins, because they haven’t worked on it long, and that also gives me a lot of creative space.

“The standard plug-ins you get in sessions today are by Waves, UAD, SoundToys, iZotope, Focusrite, SPL and so on. Everybody has them. But if I receive a session with plug-ins I don’t have, I tend to buy them real quick. It often teaches me new things, and it’s how I discovered the Turnado plug-in by Sugar Bytes. It’s a cool learning mechanism, because it gives me the opportunity to hear what plug-ins new, younger engineers are picking.”

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RIDING THE TRIPLE J WAVE

RECORDING OCEAN ALLEY

READ ONLINE NOW
Issue 59