0430484363
Canberra Technology Park, Watson ACT 2602

Recording & Mixing

Recording

Merloc is a space that leaves a lot of options open for recording.

Every project is different. Some bands sound best just miked up all playing live in a room together, some projects suit every instrument being tracked separately and then mucked around with in Pro Tools and others fall somewhere in between.

I don't really have a preferred way of doing things. Some music sounds best recorded to a metronome and synced to a grid, other music sounds better if the tempo can push and pull a little bit (or a lot). I just do whatever makes the artist most comfortable. I strongly believe that if you put an artist out of their comfort zone to record the perfect sound, you're just going to have a great recording of someone who sounds uncomfortable.

Recording times can vary a lot. Get in touch to discuss the particulars of your project.

Mixing

Mixing is heaps of fun.

I once read this great Andy Johns quote in an interview with Gareth Liddiard about mixing that said “Just f**k with it until it sounds good”. It really stuck with me. If something doesn't sound right, just don't leave it alone until it does.

I'm also a huge fan of experimentation. So, if the artist wants to play the whole mix through an old television speaker, sitting in a saucepan, re-recorded on a Dictaphone, I'm completely up for that.

Andrew Edgson is a mastering engineer that I send a lot of my stuff to. There are three reasons I go to Andrew. Firstly, he's really great at mastering. Secondly, he's a super nice guy and the third reason is because the first time I went to him, he was totally up for experimentation.

It was Crash the Curb's first EP and Adam wanted it sound kind of bad and blown out. We asked Andrew to play the mix through a reel to reel machine at 7-1/2 inches per second, and even though he knew it would sound terrible, he was totally up for it.

We all promptly agreed that it sounded terrible and played it at 30 inches per second instead, but it was being open to it that really appealed to me. I think an 'engineer knows best' approach gets you nowhere in this business. Most artists know how they want things to sound and I like to do whatever I can to realise their vision.