layering

It's one of those things, having spent so many years working with people such as Mutt whose whole thing is depth of field and whose whole concept is layering, so that even if something is just subtly audible, it's adding depth of field. You have to carve out space for things with EQ; you have to spend a lot of time making a place for everything to sit.


I remember when I first came out to L.A. to work, everything in recording was much more natural-people had perfect textbook ways of miking things, and it was more about being a purist. In England the approach was different; it was more about giving the sound more or different character. It was almost a matter of messing with it as much as you could. Especially with certain producers, the idea was to be as unnatural as you could and to not be afraid to screw the crap out of the EQ-to do things that were as "unpurist" as you could get. Also at that time, everyone was into SSL consoles over there, and over here they were frowned upon because they were not a pure signal path.