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Chris Lord-Alge says he likes to do about a mix per day.
He’s getting paid a lot to do that.
With respect to production music involving the blanket license TV libraries, or the RF world libraries, it’s not necessarily cost effective.
Of course, if you’re talking about being an “artist” who is also licensing their music, you have different goals.
Ditto, if you’re working for high-end libraries or doing trailers. In which case, the extra hours are appropriate.
With respect to production music involving the blanket license TV libraries, or the RF world libraries, it’s not necessarily cost effective.
Good point! He usually works in genres that require more attention than most library music, especially with all of the vocals and large track counts.
Has anyone found Bob Katz K-System or similar approach to be helpful?
Interesting CLA article by the way Chuck!
Point I was trying to get at was where he talks about how relatively quickly he does make, and discusses how time is your enemy when mixing. In the video it shows him coming up with a good rough in a matter of minutes.
Yes Chuck, and it was a very interesting article/video indeed. Thanks!
But you have to take into account the fact that he has a 48 track console in front of him, with everything configured well and ready to go… with the prior help of his assistants having consolidated the work, leaving all the space for creativity alone…
That’s why I am upgrading my set up, it will not be as cool as the full blown studio in the video, but at least I have the cpu hassle out of the way 🙂
What CLA does do is to condense the the track count down to 48 at most, then each element goes to the same track with the same inserts on the console, so the bass will always be on track 12 with an 1176 etc, nothing ever changes. This makes his workflow very streamlined, Bob Clearmountain does something similar. The way to duplicate this on a DAW is to have channel templates if possible, or if not, send individual tracks out seperate busses. I have Vox, All Music, Bass, Drums, FX, EFX busses set up in my composing template . It make mixing and overall changes much quicker, it really emulates the way we used to work on large format consoles, but with instant recall ability.
I hardly ever spend more than an hour on a mix/master. Most things are done as I compose, and my template is set up with evsrything I need.
I am also a big fan of the Waves Siignature series plugs, as these will get me a long way to the final result in very short time. I write mostly corporate stuff and RF Librarys these days and it is simply not worth the time to spend hours on a mix.
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