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Is itВ alsoВ part of yourВ process when you're mixing on monitors? You mentioned thatВ using spectrum analyzers is part of the process when you're using headphones.

Not ones that I know, but if we're on tour and there's an ability to plug something into some kind of system obviously, at that point, IвЂ™m so used to the headphones that I'm trusting them, always more. I definitely started and worked on the complete process without doing anything but referencing on speaker systems.

Do you actually finish mixes that were strictly done on headphones? I was intrigued by you saying that you mix on headphones a lot. I have a very nicely treated mix room with some very nice Adam monitors in it, that a miss a lot when I'm not at home. And that's obviously my preference, to be at home. I have it on an iMac system here at home. I'm very content using Logic.Дo you mainly use it on your laptop, or do you also have it on a desktop system, as well?

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And now with the updates they've applied to FlexTime and some of the new folder systems they have in Logic Pro X, I think there's very little you need to go elsewhere for. Once you start to learn a program, I think it makes sense just to stick with it. Logic Express was the next step for that. When I got my first MacBook Pro, I messed with GarageBand, but wanted more control and to be able to use third-party plug-ins, and at that time it wasn't possible. Logic just happened to be the logical step for me, if you excuse the pun. Again, I'm definitely not someone who looks down upon someone who uses other DAWs. I passable with Pro Tools, a little more clicking and a lot less shortcuts. My mixing style is so dependent around plug-ins currently, that I very rarely runВ things out during mixing. I have just a few choice pieces of hardwareВ -В EQs and compressorsВ -В and most of the time I use themВ on the way in. I'm not reliant upon them, but using them as a guide to be sure that what I'm doing is going to translate on an actual speaker system. And I know that's a huge no-no in the world of audio, but I've developed techniques that allow me to really see as well as hear what's going on, especially at the extremities of low and high end, with the use of frequency analyzers. Not even using an external headphone amplifier, or anything like that. Being a touring musician, a lot of the time I'm actually mixing just on my MacBook Pro, with nothing apart from my iLok and a pair of headphones.

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In this day in age, I'm a firm believer that plug-ins and software have really gotten to a point where - I'm not saying they're indistinguishable from hardware - but I certainly think you have all the tools to be able to create really great sounding productions without using any hardware.

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On August 26 abd 27, Nolly and the bandвЂ™s drummer Matt Halpern will be giving a free online seminar for Creative LiveВ that will go into detail about their production methods, and will include a live demonstration of recording HalpernвЂ™s drums.ДЄudiofanzine had a chance to speak to Getgood recently about recording and mixing techniques and plenty more. I would say that's a large part of what I do these days, actually mixing for clients on the other side of the world and kind of interacting via email or Skype to mix their records.вЂќ

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вЂњHere I am seven years later, having moved into the more professional domain, recording full productions for bands and doing a lot of remote mixing work. I'm not satisfied to suck at something,вЂќ he says. вЂњOnce I get into something I want to achieve a really decent level at it.

Since then, his knowledge and studio skills have grown astronomically. Based in the U.K., he got started with production through his own demos. Not bad for somebody who only got into recording seven years ago.

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