Someone who has been listening to a rough for a long time is not going to want something radically different. “If they’ve been listening to it for a long time, I’ll put it on a track in the session, so I can really scrutinise it and lock into what they love about this rough. “Whenever someone sends me a session, the first thing I want to know is: Has the client been listening to the rough?” explained Braithwaite. What’s important? Giving the artist what they want, which can usually be found in the rough mix. While many top end mixers have a pre-workout routine that can include a lot of prep work like conforming a session to a preferred template, replacing existing plug-ins with preferred options or stripping them out to the bare track, Leslie Braithwaite reckons it’s all non-essential for getting the mix right and working fast.
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