Professional Sound - August 2017 - Page 42

talking dynamics here, not headroom. I person- ally don’t care about headroom. Give me a mix that goes to 0dBFS; that’s fine – just make sure that there are lots of peaks and valleys. Leave the limiting for mastering. That should be a motto. Beyond that, I actually think it’s the best time ever for creativity in music. You can do whatever you want. You can even record, mix, and master it yourself. That’s incredible and amazing. Never in recording history have you been able to do that. I’m hearing such great music come out of Canada – so many great records that I’ve worked on or wished I worked on. I truly believe that Canada is going to take over the world musically. We’ve got incredible talent here. Lacquer Channel Room A, built by Group One Acoustics with B&W speakers, Sontec & Focusrite EQ. Lacquer Channel Room B, built by Group One Acoustics with Kranis cus- tom-built speakers, Sontec & GML EQ. PS: As we’ve alluded to, the whole “analog vs. digital” debate, while maybe not as publicized, is still ongoing among record- ing and production professionals. Do you find digital tools creeping more and more into your workflow, or have you found a balance that works that you see yourself sticking with for the foreseeable future? NM: All of us here master from a top-down approach, analog being on the top. We usually start analog then if it’s not totally working we add digital. If it’s still not working we take out the analog and go all digital. Analog is amazing – not just the sound, but the ergonomics. I like to think I can do a better job when I can turn a physical knob instead of moving a trackball or mouse. There’s so much more to analog gear than the sound; there’s a vibe, a ghost in the machine, if you will. It’s the sum of its parts but also the environ- ment it’s in, its age, who’s used and modified it over the years. Digital is the same every time, unless there’s something wrong; however, I’m not afraid to use the tools that are available to me. I’m not anti-plug-in. FabFilter, Nugen, and UAD are ones that I use and they are doing amazing things. Often times I’ll use plug-ins for something that would be impossible or difficult in the analog domain like dynamic EQ, phase correction, and multi-band upwards expansion. The biggest problem I find with people’s use of plug-ins is over-use. It’s just so easy to 42 PROFESSIONAL SOUND load one up and then another. It takes disci- pline to just call up one band of an EQ plug and decide that’s all I need. The same problem exists with