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21 March 2019
Artist: Artist Name
Album: Album title
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. What’s important? Giving the artist what they want, which can usually be found in the rough mix.
“Whenever someone sends me a session, the first thing I want to know is: Has the client been listening to the rough?” explained Braithwaite. “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. Then I can A/B it with what I’m doing. Someone who has been listening to a rough for a long time is not going to want something radically different. Especially in my world — the hip-hop, R&B and pop world, where I work with artists like Cardi B and Beyoncé — this is really important.
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“It’s different if I’m working with Pharrell because he rarely gets attached to the rough. Often when I get a session from him, he’ll have finished it the night before! It means I have more freedom during the mix. Pharrell and Mike also normally send me sessions without many plug-ins, because they haven’t worked on it long, and that also gives me a lot of creative space.
“The standard plug-ins you get in sessions today are by Waves, UAD, SoundToys, iZotope, Focusrite, SPL and so on. Everybody has them. But if I receive a session with plug-ins I don’t have, I tend to buy them real quick. It often teaches me new things, and it’s how I discovered the Turnado plug-in by Sugar Bytes. It’s a cool learning mechanism, because it gives me the opportunity to hear what plug-ins new, younger engineers are picking.”
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