OP
simoncroft
Well-Known Member
The SAW studio was appropriately named The Hit Factory, and the console was an SSL, which has comprehensive EQ, compressor and gate on every channel, plus an excellent buss compressor on the output. But before he worried too much about any of that, Pete would listen to what was on each track, taking note of parts he though were particularly effective or catchy. Then, he would use the console mutes and automation system to cut out the parts he didn't want to hear in any particular section.
(Legendary producer Trevor Horn was sometimes even bolder: he'd actually erase the parts he didn't want to hear!)
As the fact SSL consoles had compression on every channel implies, applying a certain amount of gain reduction to every part can be an appropriate strategy for getting the foundation of a mix where all the parts work together (although it isn't always necessary). Similarly, EQ can be a valuable tool for making sure each part has its own place in the overall frequency spectrum. Just as EQing the low range out of tom tracks reduces the amount of kick drum in those tracks and helps to clean up the mix, keyboard parts often have more low end than benefits the whole mix.
(Legendary producer Trevor Horn was sometimes even bolder: he'd actually erase the parts he didn't want to hear!)
As the fact SSL consoles had compression on every channel implies, applying a certain amount of gain reduction to every part can be an appropriate strategy for getting the foundation of a mix where all the parts work together (although it isn't always necessary). Similarly, EQ can be a valuable tool for making sure each part has its own place in the overall frequency spectrum. Just as EQing the low range out of tom tracks reduces the amount of kick drum in those tracks and helps to clean up the mix, keyboard parts often have more low end than benefits the whole mix.
