Hey Russell,
I just wanted to say that your work has been a huge inspiration to me. There’s something really special about your sound that truly resonates with me and sets a standard I aspire to in my own music production.
If you have a moment, I’d be super grateful if you could answer at least a few of the questions I’ve come up with. Your insights would mean a lot and really help me better understand the craft.
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Given that a lot of your projects are eventually pressed to vinyl, how do you manage low-end in a way that translates well to this format? Do you have to make compromises in terms of sub-bass or overall low-end depth to ensure the record can be cut properly without distortion or skipping?
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How do you typically approach EQing the bass guitar? Are there any specific frequency ranges you pay special attention to when crafting the bass sound?
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How do you manage the low-midrange 200Hz-500Hz in dense mixes to maintain warmth without introducing muddiness? Are there specific frequencies you tend to cut or boost to keep the mix clear in that range?
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Could you break down one of your go-to signal chains, from microphone to tape, when you’re recording vocals or instruments?
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Can you share your approach to mix bus processing?
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How much planning goes into the sound design of a record before you enter the studio? Do you spend time in pre-production experimenting with different recording setups, mic techniques, and room placements, or do you prefer to make those decisions spontaneously during the session based on the musicians and the vibe in the room?
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How do you recognize when an artist has more to give, and what techniques do you use to help push them beyond their perceived limits without overwhelming or discouraging them?
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Are there particular, perhaps unobvious, frequency ranges you tend to favor or emphasize when working with specific instruments, like drums, horns, guitars, or vocals?
Thanks so much for your time—I really appreciate it!