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Buy PDF W Ken Andrews at his Red Swan Studio. Another view of Red Swan Studios. Printerfriendly version Published in SOS July 2013 Inside Track: Ken Andrews and Paramore Secrets Of The Mix Engineers People + Opinion : Artists / Engineers / Producers / Programmers Ken Andrews won a blind shootout against some of the biggest names in the mixing world. His prize: the plum job of mixing Paramore's acclaimed comeback album. Paul Tingen hen a band lose two of their four founding members, including their principal music writer, in an acrimonious split, few would put money on the band going on to bigger and better things. Yet this is exactly what Tennessee emo band Paramore have done. When guitarist and songwriter Josh Farro and drummer Zac Farro left at the end of 2010, the three remaining members stayed together, refocused, and, two and a half years later, came up with the eponymously titled and widely praised Paramore. Released in April, the album received rave reviews and topped charts around the world, including the UK and the US, making it the band's first native number one. Perhaps the hookladen, punky pop direction of Paramore's first three albums had reached its natural end and a reinvention was overdue, even if the Farro brothers hadn't left. Either way, the remaining three members set about recasting the band's sound with gusto, dressing up their still hooky pop songs with quirky sounds and leftfield arrangements. To help them, they enlisted Justin MeldalJohnsen, who has been Beck's musical director for nearly 10 years and has forged a reputation as an innovative producer, working with exFailure frontman Ken Andrews, altrock bands such as Division Day and Neon Trees, and French electronic band M83. It was through Meldal Johnsen's connection with Ken Andrews that the latter ended up mixing Paramore, but only after first clearing a serious hurdle: a mix shootout that saw him pitted against a handful of Alist mixers. Against the odds, Andrews mixed and conquered, and this is his story and that of his mix of the new Paramore album. The Kid Doesn't Stay In The Film Born in Seattle, Ken Andrews' career began while he was at film school in Los Angeles, where he took a detour from which he never returned. "I started a band, Failure, and we didn't really think it'd go anywhere, because we were pretty left of centre. By 1991, I was actually directing music videos and making a decent living from this, but in that year Failure got signed to Slash Records and I put the video stuff on hold for a while to do the indierock thing. Twentytwo years later, here I am!” As Failure's lead singer, guitarist and bassist, Andrews made three albums: Comfort (1992), Magnified (1994) and Fantastic Planet (1996). Following this he released an EP and two albums with a solo project called ON (19992002), and assembled a shortlived band called Year Of The Rabbit, which released an EP and a selftitled album (2003). Andrews' first solo album under his own name, Secrets Of The Lost Satellite, was created with help from MeldalJohnsen and released in 2007. The two men are also currently involved in the "digital band” Digital Noise Academy, who funded their recently released debut album via kickstarter.com. So far, this reads like the typical career path of a moderately successful musician, except that 22 years later, Andrews' main working arena is not the stage, but his Red Swan private studio in Los Angeles. His reputation as a mixer has grown to such an impressive degree that beating the top guys at their own game simply seems like the next logical step upwards. How did he get so good at it? "The genesis of the Failure sound was fourtrack cassette recordings that I had done of four or five of our early songs,” explains Andrews. "For me, recording and being a band member were handinhand from the beginning. We recorded our first album with Steve Albini, and following that we recorded some very detailed fourtrack cassette demos for the second album. The record company wanted to release them as they were, but we chose to redo them, because we wanted to have real drums, and so on. We worked with a producer, but ended up falling out with him, and recorded a good half of the record ourselves. I wasn't entirely confident in my mixing abilities at that stage, so we got David Bianco in to mix it, and I learned a lot from watching him. By the time we did our third record, we were ready to completely take the reins and I engineered and mixed it. We convinced the record company to allow us to spend the recording budget, $75,000, on recording equipment, so we got a Mackie 32:8 and three early ADATs, and so on. After Fantastic Planet came out, I was immediately approached by several bands to record and produce their stuff. Even today, I still get work based on what I did on that album!” In the 16 years since the release of Fantastic Planet, Andrews has worked as a mixer, engineer and/or producer with the likes of Nine Inch Nails, Beck, Pete Yorn, A Perfect Circle, Tenacious D, Black Rebel Motorcycle Club, Candlebox and many others. He also recently mixed the end title track for the science fiction film Oblivion, which was written by M83, and is currently working with M83 on another film score. Total Recall Andrews is an outspoken fan of digital audio, which led to him being interviewed a few years ago on an American TV program called Wired Science, in which his views were contrasted with those of analogue believer Steve Albini. "The ADAT was the beginning of the home studio revolution,” explains Andrews, "and I used computers for the first time when recording ON. I worked on Logic for a while, but switched to Pro Tools in 2003. I have done a number of projects where I've gone to tape In this article: The Kid Doesn't Stay In The Film Total Recall The Mix Factor Three By Three Synths Versus Guitars Swan Songs Regional Variations Similar articles Biophilia! Matt Robertson: Björk's Home | Tablet Mag | Podcasts | WIN Prizes | Subscribe | Advertise | About SOS | Help Sat 11 Apr 2015 Search SOS Have an account? or Register for free Log in Sound On Sound : Est. 1985 Search News Articles Forum SOS TV Subscribe Shop Readers' Adverts Information WebExtras

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  • 11/4/2015 Inside Track: Ken Andrews and Paramore

    http://www.soundonsound.com/sos/jul13/articles/it-0713.htm 1/6

    BuyPDF

    W

    KenAndrewsathisRedSwanStudio.

    AnotherviewofRedSwanStudios.

    Printerfriendlyversion

    PublishedinSOSJuly2013

    InsideTrack:KenAndrewsandParamoreSecretsOfTheMixEngineersPeople+Opinion:Artists/Engineers/Producers/Programmers

    KenAndrewswonablindshootoutagainstsomeofthebiggestnamesinthemixingworld.Hisprize:theplumjobofmixingParamore'sacclaimedcomebackalbum.PaulTingen

    henabandlosetwooftheirfourfoundingmembers,includingtheirprincipalmusicwriter,inanacrimonioussplit,fewwouldputmoneyonthebandgoingontobiggerandbetterthings.YetthisisexactlywhatTennesseeemobandParamorehavedone.Whenguitarist

    andsongwriterJoshFarroanddrummerZacFarroleftattheendof2010,thethreeremainingmembersstayedtogether,refocused,and,twoandahalfyearslater,cameupwiththeeponymouslytitledandwidely

    praisedParamore.ReleasedinApril,thealbumreceivedravereviewsandtoppedchartsaroundtheworld,includingtheUKandtheUS,makingittheband'sfirstnativenumberone.

    Perhapsthehookladen,punkypopdirectionofParamore'sfirstthreealbumshadreacheditsnaturalendandareinventionwasoverdue,eveniftheFarrobrothershadn'tleft.Eitherway,theremainingthreememberssetaboutrecastingtheband'ssoundwithgusto,dressinguptheirstillhookypopsongswithquirkysoundsandleftfieldarrangements.Tohelpthem,theyenlistedJustinMeldalJohnsen,whohasbeenBeck'smusicaldirectorfornearly10yearsandhasforgedareputationasaninnovativeproducer,workingwithexFailurefrontmanKenAndrews,altrockbandssuchasDivisionDayandNeonTrees,andFrenchelectronicbandM83.ItwasthroughMeldalJohnsen'sconnectionwithKenAndrewsthatthelatterendedupmixingParamore,butonlyafterfirstclearingaserioushurdle:amixshootoutthatsawhimpittedagainstahandfulofAlistmixers.Againsttheodds,Andrewsmixedandconquered,andthisishisstoryandthatofhismixofthenewParamorealbum.

    TheKidDoesn'tStayInTheFilm

    BorninSeattle,KenAndrews'careerbeganwhilehewasatfilmschoolinLosAngeles,wherehetookadetourfromwhichheneverreturned."Istartedaband,Failure,andwedidn'treallythinkit'dgoanywhere,becausewewereprettyleftofcentre.By1991,Iwasactuallydirectingmusicvideosandmakingadecentlivingfromthis,butinthatyearFailuregotsignedtoSlashRecordsandIputthevideostuffonholdforawhiletodotheindierockthing.Twentytwoyearslater,hereIam!

    AsFailure'sleadsinger,guitaristandbassist,Andrewsmadethreealbums:Comfort(1992),Magnified(1994)andFantasticPlanet(1996).FollowingthishereleasedanEPandtwoalbumswithasoloprojectcalledON(19992002),andassembledashortlivedbandcalledYearOfTheRabbit,whichreleasedanEPandaselftitledalbum(2003).Andrews'firstsoloalbumunderhisownname,SecretsOfTheLostSatellite,wascreatedwithhelpfromMeldalJohnsenandreleasedin2007.Thetwomenarealsocurrentlyinvolvedinthe"digitalbandDigitalNoiseAcademy,whofundedtheirrecentlyreleaseddebutalbumviakickstarter.com.Sofar,thisreadslikethetypicalcareerpathofamoderatelysuccessfulmusician,exceptthat22yearslater,Andrews'mainworkingarenaisnotthestage,buthisRedSwanprivatestudioinLosAngeles.Hisreputationasamixerhasgrowntosuchanimpressivedegreethatbeatingthetopguysattheirowngamesimplyseemslikethenextlogicalstepupwards.Howdidhegetsogoodatit?

    "ThegenesisoftheFailuresoundwasfourtrackcassetterecordingsthatIhaddoneoffourorfiveofourearlysongs,explainsAndrews."Forme,recordingandbeingabandmemberwerehandinhandfromthebeginning.WerecordedourfirstalbumwithSteveAlbini,andfollowingthatwerecordedsomeverydetailedfourtrackcassettedemosforthesecondalbum.Therecordcompanywantedtoreleasethemastheywere,butwechosetoredothem,becausewewantedtohaverealdrums,andsoon.Weworkedwithaproducer,butendedupfallingoutwithhim,andrecordedagoodhalfoftherecordourselves.Iwasn'tentirelyconfidentinmymixingabilitiesatthatstage,sowegotDavidBiancointomixit,andIlearnedalotfromwatchinghim.Bythetimewedidourthirdrecord,wewerereadytocompletelytakethereinsandIengineeredandmixedit.Weconvincedtherecordcompanytoallowustospendtherecordingbudget,$75,000,onrecordingequipment,sowegotaMackie32:8andthreeearlyADATs,andsoon.AfterFantasticPlanetcameout,Iwasimmediatelyapproachedbyseveralbandstorecordandproducetheirstuff.Eventoday,IstillgetworkbasedonwhatIdidonthatalbum!

    Inthe16yearssincethereleaseofFantasticPlanet,Andrewshasworkedasamixer,engineerand/orproducerwiththelikesofNineInchNails,Beck,PeteYorn,APerfectCircle,TenaciousD,BlackRebelMotorcycleClub,Candleboxandmanyothers.HealsorecentlymixedtheendtitletrackforthesciencefictionfilmOblivion,whichwaswrittenbyM83,andiscurrentlyworkingwithM83onanotherfilmscore.

    TotalRecall

    Andrewsisanoutspokenfanofdigitalaudio,whichledtohimbeinginterviewedafewyearsagoonanAmericanTVprogramcalledWiredScience,inwhichhisviewswerecontrastedwiththoseofanaloguebelieverSteveAlbini."TheADATwasthebeginningofthehomestudiorevolution,explainsAndrews,"andIusedcomputersforthefirsttimewhenrecordingON.IworkedonLogicforawhile,butswitchedtoProToolsin2003.IhavedoneanumberofprojectswhereI'vegonetotape

    Inthisarticle:TheKidDoesn'tStay

    InTheFilmTotalRecallTheMixFactorThreeByThreeSynthsVersusGuitarsSwanSongsRegionalVariations

    SimilararticlesBiophilia!MattRobertson:Bjrk's

    Home|TabletMag|Podcasts|WINPrizes|Subscribe|Advertise|AboutSOS|Help Sat11Apr2015 Search SOS Haveanaccount? orRegisterforfreeLogin

    SoundOnSound:Est.1985

    Search News Articles Forum SOSTV Subscribe Shop Readers'Adverts Information WebExtras

  • 11/4/2015 Inside Track: Ken Andrews and Paramore

    http://www.soundonsound.com/sos/jul13/articles/it-0713.htm 2/6

    KenAndrews'principalreverbanddelaypluginswere,respectively,AudioEase'sAltiverbandSoundToys'EchoBoy.

    first,ormixeddowntotape,butsinceIstartedusingDAWs,I'veworkedononlyahandfulofalbumswithouttheinvolvementofacomputer.InowworkcloselywithAvid,betatestingstuffforthem,makingvideosfortheirteaserads,andwritingmusicthattheycanusefordemopurposes.Thesonicqualityofdigitalisreallygoodnow,andthere'snogoingbackforme.

    "MyentireworkflowhereatmystudioisbasedonafastpacedmixingstylewhereI'mbouncingbetweenquiteafewdifferentmixesonanygivenday.Youjustcan'tdothatintheanalogueworld.Also,artistscaremuchlessaboutattendingmixsessionstoday.Instead,theyhavebecomeusedtotheprocessofreceivingdraftmixesasanMP3,andtheylistentothesewherevertheyare,onwhateversystemtheyareusedto,andtheythensendmetheirnotes.I'dsaythatoftherockIalbumsthatIhavemixedinthelastthreeyears,inabout50percentofcasestheartistsarelisteningandmakingtheircommentswhiletheyareontour,sometimesseveraldaysafterIsendthemtheMP3.Thismakestheabilitytoinstantlyrecallmixeswith100percentrepeatabilityessential.

    TheMixFactor

    Theroleandstatusofspecialistmixengineerswithinthemusicindustryisalsochanging.Althoughtheirstockhasrisendramatically,tothepointwheretheyareoftenexpectedtomakecreativecontributions,recordingbudgetshavecontinuedtofall,andmixinghasnotbeenexempt.Manymixengineershavehadtodroptheirfees,andinacompetitivemarket,ithasbecomeincreasinglyfashionabletoorganiseshootoutsbetweenseveralpotentialmixers.Theseshootoutsareoftenunpaid,andit'sasignofthetimesthatevenAlistmixersfeelunderenoughpressuretoparticipateinthem.SoitwaslastAutumnthatAndrewsfoundhimselftakingpartinwhathecalledinhisblog"aninvolvedandsomewhatnerverackingauditionprocess.

    "Justin[MeldalJohnsen]gavemethechancetodothemixofffortheParamorealbum,Andrewsexplains."Thebandhaddecidedthattheywantedtodothisblind,witheveryonemixingthesamesong.Themixfileswerelabelled'A'to'E',andthebandandJustinlistenedtothemforanhourorso,andunanimouslypickedthe'C'mix,whichwasmine.Ihavetosaythat'showIgotthelastseveralmixingjobsIhavedone.It'sbecomingareallycommonthing,andmixersarewillingtodoit,becauseprojectswithhealthymixingbudgetsarebecomingincreasinglyrare.Mixersworkingmoreandmoreintheirownstudiosisdefinitelyhurtingcommercialstudiosthathavemixrooms,thoughstudiosingeneralappeartobedoingbetterinsofarasrecordingisconcerned.WhenIrangaroundLArecentlytobookastudiotodosometracking,Iwaspleasantlysurprisedbythefactthatmanystudioswerebacktotheiroldrates.Ithinkthatwhenitcomestorecording,peoplestillvaluegoodrecordingspaces,deepmiclockers,andgoodsoundingrecordingconsoles.

    ThreeByThree

    Paramorehadrecordedawhopping17songsforthealbum,andAndrews'alldigitalsetupwasideallysuitedtohandlingsuchamassiveproject.Ittookhimsevenweekstomixallsongs,beginningOctober15thandfinishingearlyDecember,buthestressesthathewasn'tworkingonthealbumexclusivelyduringthisperiod."Ikindofdomydayinthreechunks:threehoursinthemorning,threeintheafternoon,andthreeintheeveningafterthekidshavegonetobed.IoftengettheentiremixdoneduringthedayandI'llthendosomerecallsintheevening,andoccasionallyI'llfinishamixinthemorning,dotherecallsintheafternoonandstartanewmixintheevening.Itreallydependsonthesongsandonhowmanytracksthereareinasession.InthecaseofParamore,ittookmeabouttwoweekstodothefirstdraftsforallsongs,andIthenstartedworkonanotherrecord,whiledoingrecallsontheParamorealbum.

    "ThesessionsfortheParamorealbumusuallyhadabout5060tracks,sometimesmore,becausetherewereacoupleofsongsthathadasmallorchestraonthem.Butthemixesdidn'ttakethatlong,becausetheyhadbeenprettysmartabouthowtheyhadrecordedeverything.Theengineer,CarlosdelaGarza,isreallytalented,everythingwassuperwellrecordedandthesessionswereorganisedthewayIlikeit,whichisprettycommon,withthedrumsatthetop,thevocalsatthebottom,andtheinstrumentsinbetween.WhenIreceiveasession,thefirstthingIdoisa'SaveAs'withmyinitialsattheend,andIthenlistentotherough,whichusuallyhasbeenprintedbackintothesession.IgetasenseofthevibeanddirectionofthesongandIfamiliarisemyselfwiththetracksthatareinthesessionandthendosomehousekeeping,likegoingthroughalltheregionsanddeletinganyblankspaces.Theseblankspacesdon'tusuallyhavenoiseonthem,it'spurelyformetohavevisualcuesintheEditwindowtoseewherepartsbeginandend.

    "Also,becauseIhaveagoodrelationshipwithJustinandCarlos,Ihadbeenawareofwhattheyhadbeenworkingwith,softwarewise,andtheygavemealistofthepluginstheyhadusedfortheroughs.TherewereonlyahandfulthatIdidn'talreadyhave,andthesewererelativelyinexpensive,soIboughtthemallandinstalledthemonmysystem.Thisallowedmetoopentheirsessionsandnothavedisabledplugins.Anotherpartofhousekeeping,forme,istoripoutallthehardwareI/Othat'sinthesessionandmakesurethere'snoautomationanywhere.IthenimportmyowninternalI/Oandbussingsetup,whichcontainsatemplateofauxiliaryplugineffectsandinstrumentsubgroupslikedrums,bass,guitars,keyboards,vocal,andsoon.Eachinstrumentfamilyhasitsownstereoauxtrackatthebottomofthesession,andImakesureeverythingisroutedthewayIwantit.Mytemplatewillgenerallyhavethreeorfourreverbs,twoorthreedelaysandsomedrumbuscompression.That'smystartingpointforarockmix,butthesettingsalwaysgetchanged,dependingonthesong.It'saquickwaytogetgoing,andforthemostpartIcangothrougharocksongjustusingthese,eventhoughImaycreateafewnewoneshereandthere.

    "Mynextstepwillbetogetareallyquickoverallbalance,withoutlookingattheprocessingonindividualtracks.IthenpicksomethingI'dliketoworkoninmoredetail.Thismaybethedrums,orthebass,sometimestheguitars.It'susuallynotthevocals,becausewiththiskindofmusic,theconceptofgettingthevocalstosoundgoodandthenfittingthemusicaroundthatdoesn'tworkforme.It'snotjustaboutthevocalsound,it'sabouttheentirepackage.SoIfirstgetagoodinstrumentalmix,andthenIaddthevocalsinandmakesuretheycancompetewithinthatinstrumentalmix.Atthatpoint,ImayaddresssomeoverlappingfrequenciesandEQsome1kor2koutoftheguitarsorkeyboards,orpanthingsoutabitmore,tomakeroomforthevocals.Butingeneralmystrategyforarockmixistofirstgetareallygood,punchy,rockinstrumentalmixgoingbeforeaddingthevocals.

    SynthsVersusGuitars

    "TheroughmixesfortheParamorealbumwereareallygoodrepresentationofwhattheywanted,especiallyintermsofoveralltoneandbalance.Ifyoucomparedtheroughswithmyfinalmixes,you'dnoticethattherewasasensibilityintheroughsthatIkept.Iwasn'taskedtoreinventthingsoranythinglikethat,ormixwithaneyeonthecharts.Thedrumswerereallywellrecorded,but,likemostmixers,Ihavemybagoftrickstomakethemsoundbiggerandpunchierandwhatnot.Mixingwassimplyamatterofpleasingmyselfandtheband,andoncewehaddonethat,wetrustedthatotherpeoplewouldalsolikeit.Havingsaidthat,therecordingswererelativelypolishedandthebandwereclearlynotafteranuncommercialsound.Weweren'tmakingaWhiteStripesrecord.Thatdictatedthepresentationsomewhat.

    DryMortarMixer

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    MusicalDirectorBjrk'sstageshowisbizarreandbeautiful,andittakesateamof

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    AnOrchestraofPianosMaximeLeGuil:RecordingVincentDelerm'sLesAmantsParallles

    UndertheguidanceofengineerandproducerMaximeLeGuil,

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    SecretsOfTheMixEngineers:MikeCrosseyInsideTrack

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    withGiorgioMoroder,Sparks'musichasalwaysbeeninnovativeandinstantlyidentifiable.

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    latestalbumaroundasingleinstrumentwhichhecouldn'tplay!

    ADayInTheLifeKevinLemoine:FOHEngineerForGreenDay

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    Braxton,butabreakthroughopportunityforengineerandmixerMikeyDonaldson.

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    ForJonathanWilson,thequalityofrecordedmusicpeakedinlate

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    fromastartoasuperstarwiththeaidofmastermixerTonyMaserati.

    lafurArnaldsComposer&Producer

  • 11/4/2015 Inside Track: Ken Andrews and Paramore

    http://www.soundonsound.com/sos/jul13/articles/it-0713.htm 3/6

    Thecoverofthealbum,featuring(fromleft)JeremyDavis,TaylorYorkandHayleyWilliams.

    "Whatseparatesthisnewrecordfromtheirpreviousrecordsis,toasubstantialdegree,thesynthesizers.Theyhadmanyinterestingguitarandbackingvocalparts,buttheyalsohadallthesesynthesizerpartsthathadbeenaddedbyJustin,andalsoTaylor,theguitarist,plussomepercussivedrummachinetypethings.IbelievethebandpartlyhiredJustinbecausetheywantedhiskeyboardsensibilityonthealbum.They'dexperimentedwithsynthesizersintheirdemosbeforetheygotintouchwithhim,sotheywerealreadygoingdownthatpath.Whenitgottothemix,mychallengewashowtorepresentthat.Thesynthswereimportant,andwerethekeytothenewsoundoftheband,butwedidn'twanttolosethefeelingthatyou'relisteningtoaguitarbasedband.Therewereusuallyoneortwomelodicguitarsgoingon,plusarhythmguitar,andthekeyboardtracks.Tomyears,theresometimesweretoomanykeyboardparts,soIappliedanumberofcreativemutesjusttocarvethingsoutabitandopenupthesections.

    "Atothermoments,I'dreallyletthekeyboardsshine,ifIfeltthatthesongcalledforitandthattheguitarhadalreadyestablisheditselfstronglyenoughearlierinthesong.Inasituationlikethat,I'doccasionallyallowtheguitartodriftalittleintoasupportingpositionandallowthekeyboardstotakeover.Arelatedaspectisthattherecordisnotsuperbassheavy.Whenyouhaveanultrabassheavymix,it'shardertoachievethesamedetailintheguitarsandkeys,soitwasaveryconsciousdecisiontomakesurethemidrangewaswelldefined.Overthetopbasscanworkforsomehiphop,becausethegrooveisthemostimportantthing,butinarocksongitcanreallyskewthewholethewholepicture.TheParamorestuffhasalotofcounterpointandmelodicinformationinthemidrangethathadtospeakinthesongs,otherwiseitjustsoundedwashy.Decidingwhethertheguitarsorthekeyboardsdominatedatanygiventimeinthemidrangewasprobablythemostfun,interesting,andchallengingaspectofmixingthisrecord.

    Drums:WavesSSLGChannel&L2,AudioEaseAltiverb,AvidDigirackEQIII.

    "Iaddedonekicksampletothissession,whichisthesecondtrackfromthetop.Sothere'stheir'KickIn'mic,mysample,their'KickOut'mic,snaretopandbottom,andtherestofthedrumtracks,includingtwosetsofoverheads,consistingofonewidersetofNeumanKM84sandanotherwithanarrowersoundcomingfromastereoRoyerSF12ribbonmic.Isplitthehatstrackoffintotwotracksfordifferentsectionsofthesong,togetmorecontrolovertheautomation.Idothatalot.The'S'ontheinsertsofallthedrumtracksandtheridetrackistheWavesSSLGChannel,whichismyfavouritepluginfordrums.Inaddition,IsentalittlebitofthetopsnaremictotheAltiverbAMSRMX16auxtrack,butotherthanthat,Iusedtheambiencethattheyhadrecorded.Therewerestereocloseroommics,stereofarroommicsandamonoroommic,andtheyallsoundedawesome,soIwasabletogetagreatdrumsoundjustusingthem,plustheSSLGChannelandthesnareAltiverbAMS.

    "Therearealso10tracksofacousticpercussionoverdubsinthesong,withtambourine,cowbells,cabasa,triangle,woodblockandsoon,andthreesnareoverdubsinthebridge.It'salmostlikethere'sapercussionpartystartinginthebridge.ThesnareoverdubsaresenttothePlatereverb.IalsohaveaWavesL2andthesevenbandDigirackEQonsomeofthepercussiontracks.

    "TheSSLGchannelpluginisonestopshopping:yougetanEQ,acompressor,gateandexpansion,anditallowsmetoquicklyshapethedrumtracks.ManyofthedrumGChannelpluginsdidnothing,theywerejusttheretounifythedrumsound.Usingthesamepluginonallthedrumtracksallowsmetotreatthedrumsasoneinstrument,andthishelpswithlatency.Igenerallymixwiththedelaycompensationon,buttherearetimeswhenIturnitoffbecauseIwanttoaddapartmyself.ThisissomethingthatIdoalotonprojectsthatIammixing.Itjustseemsnaturaltome,andoftenIwon'teventelltheartist,andtheywillnoticeit,ortheywon't.Oftenitisnotanentirelynewpart,butmoresomethingthatsupportswhat'salreadythere,likedoublingaguitarpart,oraddingashakerverysubliminally.OnthisrecordIdidnotdotoomuchofthat,apartfromsingingsomedifferentharmoniesonacoupleofsongsandImaybeaddedsomekeyboardshereandthere.ButforthisreasonIprefertoorganisemymixinsuchawaythatwhenIturnthedelaycompensationoff,itdoesnotfallapart.Iwanttobeable,atanytime,tograbamicrophonetoaddaparttoasession.

    Bass,keyboards&guitars:WavesC4,CLA2A&CLA3A,SoundToysCrystallizer&EchoBoy,AvidDigirackEQIII&Echo,AudioEaseAltiverb,TrilliumLaneAutoPan.

    "Belowthepercussionisabassguitartrack,whichisacompthatImade.Thebassonthisrecordwasmostlydeliveredinthreetofivetracks,allofoneperformancebutwithdifferentsoundsources,likeDI,pedals,amp1,amp2,maybeadifferentmicononeoftheamps,andsoon.Usually,whenI'mhalfwaythroughtheinstrumentalmixandwillingtocommittothebasssoundIsubitdowntoonetrack.Havingoneperformancespreadovermanytracksmakesitdifficulttoworkwith,forexampleifyouwanttohaveaglobalEQonitorsomethinglikethat.IhadtheWavesC4multibandcompressoronthebasstrack.Thatpluginisabigpartofmyworkflow.It'sincredible,Iloveit.Youcantameatrackthathasafewunrulymomentswiththispluginandyou'renothearingitwork,becauseit'smultiband.Soit'sgreatforsubtlecontrol.InthistrackI'musingittocontrolabuildupinthelowmids.Afterthatthere'satinybitofoverallcontrolfromtheWavesCLA2A[compressor],withprobablyjust1dBofgainreduction.

    "Iaddedrelativelyfeweffectsontheguitarsandthekeyboards.SomeoftheguitarshavetheWavesC4andCLA3A,andIsentthreeguitartrackstotheAltiverbplatereverbandtwototheAltiverbbathroomspace.Peopleoftenrecordguitarsveryclosemikedwithoutanyambience,andIfindthattogetthemtospeakbetterinmixestheyneedalittlebitofambience,justsoitfeelsliketheyareinarealspace.I'dsaythatabouthalfofthepluginsonthekeyboardsareJustinandCarlos's.Ilistenedtowhattheyweredoing,andinprobably75percentofcasesIleftthemin.SometimesIremovedapluginandreplaceditwithsomethingthatIfeltimprovedit.The'C'istheSoundToysCrystallizer,andtheywerereallyintothatone,becauseofitsmodulationeffects.TheglockenspielhadanEQandaCLAeffect,andIputontheWavesC4andthentheDigiracksevenbandEQ,whichwasjustdoingahighpassfilter.There'salsoaDigirackEchodoingaquarternoteecho,andIalsosenttheglockenspieltomyEchoBoyquarternotedelay,andthetwotogethermakeitastereoquarternoteecho.IalsoaddedalittlebitoftheAltiverbplatereverb.The'T'onvarioussynthtracksisaTrilliumLaneautopan.It'sasimplepluginthatIlovetouse.

    Vocals:WavesQ2,C4,CLA3A&Deesser,CranesongPhoenix,AudioEaseAltiverb,SoundToysEchoBoy.

    Manyclassicallytrainedmusicianshaveendedupplayingrock.lafur

    Arnalds'careerhasgoneintheoppositedirection...

    PioneerOfDigitalSynthesisErkkiKurenniemi

    YearsbeforetheMinimoogappeared,aFinnishvisionarywas

    alreadybuildingdigitalpolyphonicsynthesizersandtheywerecontrolledbylight,skinconductivityandevenbrainwaves.

    InsideTrack:JamieCullum'sMomentumalbumSecretsOfTheMixEngineers:DuncanMills

    JamieCullum'ssixthstudioalbum,Momentum,seestheBritish

    pianistandsingerfurtherexpandinghisstylisticpalette.

    J.Cole&Juro'Mez'DavisRecordingBornSinner

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    sothankyou,exclaimsJ.Cole.

    CaroEmeraldDavidSchreurs&JanVanWieringen:RecordingTheShockingMissEmerald

    Tiredoftryingtomakemoney,CaroEmerald'sproductionteamchosetomake

    musictheyloved.Theresultwasaworldwidehitalbum...

    InsideTrack:BlackSabbathreturntotheirrootsSecretsOfTheMixEngineers:AndrewScheps

    UndertheguidanceofRickRubin,BlackSabbathreturnedtotheir

    roots.MixedbyAndrewScheps,theresultingalbumtoppedchartsworldwide.

    DaftPunkPeterFranco&MickGuzauski:RecordingRandomAccessMemories

    DaftPunkspentfouryearsandoveramilliondollarsontheirquesttorevisit

    thegoldenageofrecordproduction.MickGuzauskiandPeterFrancowerewiththemalltheway.

    InsideTrack:KenAndrewsandParamoreSecretsOfTheMixEngineers

    KenAndrewswonablindshootoutagainstsomeofthebiggest

    namesinthemixingworld.Hisprize:theplumjobofmixingParamoresacclaimedcomebackalbum.

    InTheGrooveNitinSawhney:RecordingLiveToVinyl

    Vinylisstillthelisteningformatofchoiceformanyconsumers.

    Usingitasarecordingformatismoreofachallenge!

  • 11/4/2015 Inside Track: Ken Andrews and Paramore

    http://www.soundonsound.com/sos/jul13/articles/it-0713.htm 4/6

    KenAndrews'vocalchainforParamoresingerHayleyWilliams:WavesQ10highpassfilterandC4multibandcompressor,WavesCLA3Acompressor,CranesongPhoenix'analoguewarmth'pluginandWavesDeesser.

    "Theleadvocalwasononetrack,withoutplugins.Itendtobreakupatracklikethatintodifferenttracksforsectionsofthesong,likeverse,prechorusandchorus.TypicallyIwillfirstgetachorusvocalsound,togetmygainstructuresright,becausethat'susuallysungtheloudest.Iwillthencopyandpastethesepluginstoalltheotherleadvocaltracks,andtailortheirsettingsforeachtrackyouseethatalltheseleadvocaltrackshavethesamechain,whiletheothervocaltrackshavealmostexactlythesamepluginchain.ThefirstpluginistheWavesQ2,whichactsasahighpassfilter,setat62Hzonallthevocaltracks.NextistheC4,justforsomegeneralcontrolonallfourbands.Thenthere'stheWavesCLA3Aforsomeactualcompression,togetthatfamiliarrockvocalsoundthatpeopleareusedto.Itobviouslyhelpsthevocaltositinthetracknicely.IusedtheCLA3Aonabouthalfthesongsonthisalbum,becauseIreallythoughtitsuitedHayley'svoice.Itaddsanicelowermidrangequality,anddoesn'thavemanycontrols:it'smostlyamatterofhowhardyou'rehittingit.Afterthat,there'stheCranesongPhoenix.Ilovethatplugin.Ithasfivedifferentversions,andunlessIreallyspecificallywanttodarkenorbrightensomething,IusuallypulluptheIridescent,becauseitisthemostneutralintermsofEQ.Itjustaddsmoresaturation.TheGoldsettingwithinthatisthemostEQneutralsetting.TheSapphiresettingbrightensthingsalittlebitandtheOpalsettingdarkensalittlebit.Typically,I'musingaround30to40percentofthat,butinsomethinglikeadenseoutrofullofguitarsandkeyboards,Imightbumpthatupabitinordertokeepthevocalontop.TheIridescentallowsyoutokeepyourvocalsontopwithoutactuallychangingthelevel,becauseitbringsoutmoredetail,sotherearetimesI'mautomatingthatpluginasopposedtoactuallyautomatingthevolumeofthetrack.ThelastinsertpluginistheWavesDeesser.Thatwasprettymuchmyvocalsoundforthisalbum.ThesendsaregoingtotheAltiverbplatereverb,andtheEchoBoyslapandlongdelays,andtheamountsaretailoredtoeachsectionofthesong.

    Mixdown:WavesNLS,SSLGMaster,HEQ&Dorrough380D,PSPVintageWarmer2.

    "Thesessionwas24bit,48kHz.Iprefertokeepthemixfilesinthesession.Theyfirstgothroughastereobusandarethenprintedtoanotherstereoaudiotrack.Iliketohavethevariousversionsofthemixesintheplaylist:mixesonetwo,andthree,vocalup,vocaldown,andaninstrumentalversion.Onthestereobus,IhavetheNLS[plugin]onaSpikeStentSSLsetting,theWavesSSLGmasterbuscompressor,andtheWavesHEQ.ItismyfavouriteEQ,butit'sabitofaprocessorhog,soItendnottouseitonindividualtrackstoomuch.Itisreallygoodonthemixbusbecauseithasalivefrequencyanalyseronitthatallowsyoutoseewhatyourmixisdoingandwherethepeaksare.Afterthat,there'soneofmyfavouritethingsonthemixbus,thePSPVintageWarmer2,whichismostlyasaturator,thoughitalsofunctionsasalevelmaximiser.Itsoundsawesome.Iusedverylittleofit,lessthan1dBgainreduction,butitreallyshapesthesoundinagreatwayforrock.OnceIamatthepointofaddingthevocals,Iturnitonandmixwithiton.IalsousetheDorrough380D,whichisjustastereometer,andontherightsideofmydisplayI'llalwayshavetheNLS,theSSLGMasterandtheDorrough,becausetheyshowyouallthethingsyougenerallywouldseeifyouweremixingonadesk.Youreallywanttobeconstantlyawareofhowhardyouarehittingthebuscompressorswhenyouaremixing.

    "ThealbumwasmasteredbyTedJensen,andIreallylikedwhathedid,becausetonallyitwasnotfarawayfromthemixesIsenthim.Hedidn'taddalotofbassorhighend.Onceagain,it'snotahiphoprecord,norisitanultraslick,glossypoprecord.It'smorelikeacoolrockrecord,withthemidrangebeingthemostimportantthing. .

    InsideTrack:RecordingAerosmithSecretsOfTheMixEngineers:ProducerJackDouglas

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    Douglasintheproducerschair.Butitwasntallretro...

    BeyondTheGraveJanus:GravediggerThenAndNow

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    Fourdecadeslater,theyfinallygotthechancetomixitproperly...

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    InsideTrack:MixingtheLedZeppelinReunionAlanMoulder|SecretsOfTheMixEngineers

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    yetAlanMoulderhadonlythreeweekstomixtheentiresoundtrack!

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    Underpinningthebiggestspectacleof2012LondonOlympicGames

    wasprobablythelargestmultitrackrecordingevermade.Justhowdoyoumixathousandtrackproject?

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  • 11/4/2015 Inside Track: Ken Andrews and Paramore

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    KenAndrewspreferstouseneitheradesknorafaderbasedcontrolsurface,relyinginsteadonatrackballandlargeflatscreenmonitors.

    Whilemixing,KenAndrewskeepshismasterbuspluginspermanentlyopentotherightoftheMixorEditwindow,inordertokeepaneyeontheamountofcompressiontakingplace.

    SwanSongsKenAndrews'RedSwanStudiosistheultimate21stCenturystudio.It'saprivatefacilityentirelybasedaroundhisProToolssystemandGenelecmonitors,withnocontrolsurfacesandonlyafewchoicepiecesofanaloguegear.Andrewsexplains:"Webuiltaroomwithintheexistinggarage,sonobodyoutsidecanhearmeworking,whichisnice.IhavefiveGenelec1031Amonitors,whichhavebeenmyfavouritemonitorsfor15yearsnow,plusalargesubwoofer.I'msousedtotheGenelecsit'stoolateformetochange.Theonlyacousticproblemwiththespacehereisthatthesweetspotisverysmall.Yougothreefeetbackwardsandthebassiscrazy.It'soneofthereasonswhytheadvantagesofjustusingkeyboardandmouseandjustbeingabletostayinthesweetspotoutweighshavingabunchoffaderstocontrol.Ialsofindthatwhenyouareusingacontrolsurface,youtendtolookatthesurfacewhenyougrabaknobandthenlookupatthescreentocheckwhetheritisdoingwhatyouwantittodo.Thescreeniscontrollingyourmix,sotomeit'sfastertojustgotherewithatrackball.It'salsomuchmoreefficienttometogetanoveralllevelforatrack,andthentodrawinvolumeautomationwhensomethingjumpsoutoristoosoft.Whenyourideafader,you'realwaysreactingtosomethingthathasjusthappened,unlessyoulearneverythingandpreemptyourmoves,whichseemslikealotofunnecessarywork.

    "Mostofmyanaloguestuffhereismicpresandguitarpedals.IhavefourChandlerLTD1s,whichare1073clones,andfourAPIandthreeUAmicpres.Inaddition,Ihaveacoupleof[EmpiricalLabs]Distressors,acoupleofAPIEQs,andthat'sit.That'smyfrontendforwhenIamdoingoverdubs,andIhaveitallpatchedinpermanently.Irecordvocalsinmycontrolroom,butalsohaveaguitarampclosetthat'sadecentsize,withtallceilings,socabinetssoundprettygoodinthere.IhaveanAKGC414TLIIforvocalsandacousticguitar,acoupleofRoyerR121sandsomeShureSM57and58sforguitars,andthat'sit.Mystyleisthatonceit'sinthebox,itstaysthere,allthewaytomastering.Idooccasionallyrunthingsouttopedals,butIalwaysprinttheresultonanewtrack.Itrytoavoidhavinganyanaloguegearliveinamix.Ingeneral,Ikeepmysetupassimpleandleanaspossible.Ifindthathavingitthiswaykeepsthefocusontheemotionofthesong,asopposedtothegear.

    RegionalVariationsTheProToolssessionforKenAndrews'mixofParamore's'StillIntoYou'consistsof81musictracks.Fromtoptobottom,thesecomprise15drumtracks,14percussiontracks,13guitartracks,sevenintrokeyboardtracksand17morekeyboardtracks(theregionnamesindicatethatthehardwarekeyboardsusedincludedanArturiaMiniBrute,RolandJX3P,RolandJuno106,KorgMS20,ARP,Doepfermodular,EowavePersephoneandAtomoSynthMochika),plus15vocaltracks,includingthemainleadvocalspreadoutoverthreetracks.BelowtheaudiotracksaresixauxeffecttrackslabelledShimmer,Room,SnareReverb,Plate,LongDelayandSlapDelay,andnineauxgrouptracks(threedrumauxes,percussion,rhythmguitars,leadguitars,keyboards,leadvocalsandbackingvocals),astereobusandamixdownmastertrack.Unusually,perhaps,theregionsintheEditwindowhavenotbeencolourcodedbyinstrumentgroup.

    KenAndrews:"Idon'tlikecolourcodingtheregions,asinmakingallthedrumregionsthesamecolour,becauseitmakesithardtodifferentiatebetweentrackswhenyouzoominandalso,ifyouhaveanartistintheroomwhoislookingoveryourshoulderandallthetrackshavedifferentcolours,heorshewillbeabletosay:'It'sthatgreentrack.'Colourcodedregionsareabigconfusingthingforme,soifIgetasessionlikethat,Ichangeitrightaway.Myalternativeisgroupbussing,andinthissession,Ibussedtracksforthevariousinstrumentfamilies,likedrums,percussion,bass,guitars,keyboardsandvocals,intotheirownstereoauxes.Thisreallyhelpsasavisualaidforwhenthetracknamesthemselvesdon'ttellyouwhatyou'relookingat,particularlyifinasmallMixwindow.InthiswayIcanquicklyseeundertheI/OsectionwhatkindoftrackI'mdealingwith.Ipreferusingcolouredtrackstoindicateactualgroupingratherthanidentifyingtracks.Goingthroughthisprocessispartoforganisingthesessionandfamiliarisingmyselfwithit.Another

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    AllcontentscopyrightSOSPublicationsGroupand/oritslicensors,19852015.Allrightsreserved.Thecontentsofthisarticlearesubjecttoworldwidecopyrightprotectionandreproductioninwholeorpart,whethermechanicalorelectronic,isexpresslyforbiddenwithoutthepriorwrittenconsentofthe

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    reasonforhavingthemastergrouptracksistobeabletoquicklymuteallguitars,ordoaglobalrideonthekeyboards.It'salsoreallyhelpfulwhenfinishingamix,becauseartistsandlabelsnowrequireyoutodeliverstemsofallthemixes.

    "Asfortheauxeffecttracks,ShimmerisaValhallareverb.IwasturnedontotheValhallasuitethroughJustinandCarlos.Theyuseditalotonthisrecord,soit'soneoftheonesthatIbought,andit'sreallycool.Iuseitalotnow.Room,SnareReverbandPlateareall[AudioEase]Altiverbeffects,respectivelyabathroom,anAMSRMX16andanEMT140plate.IloveAltiverbbecausetheydon'tonlyhavestudiosandchurches,butalsosomereallyinterestingsmallspaces,likebathroomsandkitchens.TheLongDelayandSlapDelaytracksare[SoundToys]EchoBoyeffects,onebeingaquarternotedelayandtheotheraslapdelay.ThethreedrumgroupbusesareDrumClean,DrumSmack,onwhichIhavethe[Waves]CLA76inbluemode,andDrumAll,onwhichIhavetheSoundToysDevilLocDeluxe,followedbytheWavesC4multiband,andthentheCranesongPhoenixIridescent.TheDrumCleanandDrumSmackgroupsthengothroughtheDrumAllbus.


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