To this end I didn’t use any equipment or techniques that weren’t available to an engineer working in a typical studio in the mid 1980s, except, of course, for the fact that I was using a DAW instead of 2” tape for playback. Wouldn’t the fans want them to sound exactly like the Rolling Stones, rather than a bunch of veterans trying to re-invent themselves as something they weren’t? I pondered what it might be like if a band like the Rolling Stones had released a new record after a very, very long break. I went for period authentic, as if it was some long lost follow-up to their previous record.
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When I received the first track to mix, a catchy tune called “Dumbass Kids,” I gave a lot of thought about how to approach it. This band was a shining star in the 1980s Minneapolis music scene their records and 12” remixes were characterized by hypnotic bass lines, sparse and sophisticated keyboard parts and wild, nearly punk guitar accents - and always with a strong sense of melody and groove. The album was to be a comeback of sorts, as it was their first new album in nearly 3 decades. This can seem quite subtle on a first listen, but the overall effect is that the mix is more “alive.”Ī case in point: A few years ago I mixed an album for a band from Minneapolis called The Suburbs. My mixing setup is a hybrid combination of DAW routing and Analog processing, and sometimes I let the technology dictate the decision making by showcasing the quirks and unpredictable outcomes that the interactions of various pieces of gear have with sound sources.
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