That’s a great example of an artist of Jimi’s stature starting from square one with a very difficult arrangement. A lot of times I’ll even use a stereo mix that the producer gave me because they can’t find the original session to break the individual parts out, so all you’re really doing is just putting the vocal on top.

There’s a difference between using something because it’s hip and new and using it because everyone else is using it. But you know, I don’t care how close you think you’ve got it that night, you take it home and play it back in the morning and every time there are two or three things things that you must fix. Bobby Owsinski”s “The Mixing Engineer’s Handbook is a veritable gold mine of practical knowledge and advice, that empowers its reader to create higher quality mixes. EDDIE KRAMER: I guess I really learned by watching what the other engineers did whilst they were recording, and I sort of adapted their technique in recording my first Jazz groups.

Andy Johns needs no introduction because we’ve been listening to the music that he’s been involved in for most of our lives. Nowadays, because you have this luxury of the computer and virtually as many tracks as you want you don’t think that way any more, but it was a great learning experience having to do it that way. Elliot Scheiner: Out of force of habit, if there’s a rhythm section I’ll usually start with the drums and then move to the bass and just work it up. Today we’re in the age of the DAW, where dynamic automation of virtually every parameter is the norm.

Once I came to the United States in ‘68, utilizing that philosophy seemed to work, but with some modifications.For instance, I know that I’m going to immediately start with a tube U 47 about 18 inches from the F-hole on an upright bass. The book wraps up with insightful interviews with the top engineers in the field, including George Massenburg, Allen Sides, Bruce Swedien, Elliot Scheiner, Andy Johns, Nathanial Kunkel, and several others. Full coverage of materials and mechanical design in engineering Mechanical Engineers' Handbook, Fourth Edition provides a quick guide to specialized areas you may encounter in your work, giving you access to the basics of each and pointing you toward trusted resources for further reading, if needed. For me it’s still about a vibe and if I can get things to sound good and have a vibe, that’s all I really care about. Now if I have a problem with a guy’s instrument where it doesn’t respond well to that mic then I’ll change it, but that happens so seldom.