zinanax.blogg.se

1. Sonarworks reference 4 impulse response pro#
2. Sonarworks reference 4 impulse response plus#
3. Sonarworks reference 4 impulse response tv#

So how did you then make the jump from being an assistant engineer and Pro Tools tech to being a mixer on these huge projects? We did two albums with Neil at his studio. Eventually I started getting calls as a second engineer for Rick’s sessions, starting with Neil Diamond’s 12 Songs album. He would tell me things like “…in this verse move that fader here and turn off that EQ…” On that job I met Rick and his production assistant, Lindsay. My first project at Rick’s old spot was as an assistant on a Jayhawks live record where John Hanlon needed an extra hand with Pro Tools, and I ended up getting to help him in tiny ways mixing on an analog console that had no automation. We still continue to work that way today! How did that work lead to working with Rick Rubin? John would teach me the old school engineering ways and I would show him the modern stuff. Ultimately one of my first big breaks came through helping put a system together for Colin Hay from Men at Work and then I started working with John Hanlon (engineer/mixer for Neil Young, Jackson Browne, R.E.M.) and we still work together today. I also had a local Music Connection magazine ad that I would run for producing tracks for singers and songwriters. I started out working at the Hollywood Guitar Center and then Westlake Audio (in their sales department) configuring Pro Tools systems for all these insane clients, like David Foster. I had broader tastes in music than just jazz and blues and I worked on productions for a lot of different musical styles. I realized then that I could get involved in a lot more music than might be traditionally applicable to just being a jazz saxophone player.

Sonarworks reference 4 impulse response plus#

The school had a state-of-the-art, for the time, Pro Tools Mix Plus system and the Waves Gold bundle of plugins.

I eventually got keys to the school’s studio and started doing sessions there. While I was at school, I got super involved in studio and electronic music classes and totally loved it. Anyway, Charissa and I went to Loyola University in New Orleans, where I was a jazz saxophone major, and then we moved to L. We have a music-filled household, that’s for sure. There’s a Jif peanut butter ad that just came out that features me and Charissa and our 7 year old daughter singing on a doo-wop track I wrote.

Sonarworks reference 4 impulse response tv#

So wild! She also got me into composing and mixing music for TV and ads. She actually put a group together and sang on the recent Smashing Pumpkins album I recorded and mixed, and has been performing with them live occasionally. She’s an amazing singer and vocal contractor for film, TV and albums. My wife, Charissa, and I have known each other since 8th grade and have been performing together in bands and school ensembles since high school. You started out as a jazz musician in the Midwest wound up as a producer and mixer in Los Angeles. The following questions and answers came out of our conversation over some buzz-inducing iced coffee. Dana has calibrated his ATC monitors with Sonarworks 4 and uses the same ATC monitors at Shangri-La studios to ensure consistency during his tracking sessions. His airy and comfortable studio centers around Pro Tools HDX, a 24-channel Avid D-Command, ATC SCM25A monitors and a handful of analog outboard pieces. Dana is a musician, singer, engineer, mixer and producer who may be best known for his projects under Rick Rubin’s supervision, but Dana has also amassed a serious list of credits as a producer, writer and musician for film and TV music.ĭana records out of many studios, including Rick Rubin’s Shangri-La Studio in Malibu, but returns to his home studio for all his mixes.

Dana’s credits are truly dizzying, including: Adele, Rihanna, Smashing Pumpkins, The Avett Brothers, Kanye West, Neil Young, Red Hot Chili Peppers, Weezer, Bob Dylan, Black Sabbath, Justin Timberlake, Santana, System of a Down, Dee Snider, Neil Diamond, Slayer and more.

I recently sat down with Dana Nielsen at the home he shares with his wife and daughter in West Los Angeles and spoke about his background and experiences engineering, mixing and producing some of the biggest artists of today, yesterday and tomorrow.