Issue link: https://digital.copcomm.com/i/1535806
52 S U M M E R 2 0 2 5 I C A S Q U A R T E R L Y When I watch the film, I feel like there's more definition. The correlation between bass, guitar, and drums is incredibly strong. That comes from the fact that I can do things with guitars. You know, once you have a guitar, even if a guitar is coming in and out and it's fluctuating, I can re-amp or do things. It's using this dance to make things more real than it is. People think that what we do is actually layering on technology. But in a way, my process is to use technology to actually strip back the technology that's been done wrong in the recording, if that makes sense. And it comes across like that. Is it a plugin or an app? What is the de-mixing technology based in? It's a number of different programs that have to be run. We'd like to develop in more of an accessible user-interface. I just think there's a lot of artists who would like to use this technology. So it's just trying to get it into that stage. It'll take a while, but, you know, we will get there. You mix out of Abbey Road, which is an epic home base. Is there any specific gear that is your go-to there? Even if your answer is "None of the above—I do it all in the box," we are curious to hear. With Beatles '64, I did everything in the box. I use ATC speakers, which I always use. The thing with Beatles '64, there's all this analog stuff that has been on there. If anything, you want to take away tape compression and take away all the stuff that the old gear would add. It's a very different process, so I'm not ashamed to say that I do things completely in the box. It's a really interesting thing. I mixed, "Can't Buy Me Love" for the Beatles Number Ones [release], and I used all the plugins in the box. I used all the real equipment as well, because I could do it. It wasn't far apart, and I did a full test. There was sort of a digital clarity in the plugins. I won't tell you which one I used in the end, but it was interesting. It got quite dull in lockdown; I did my own road test. I often use Pultec plugins, Pultec EQ's, and I just compared a ton of Pultecs. I'm not a sound engineer, but maybe I'm turning into one. It's amazing with Abbey Road; you can actually record through the [EMI] TG desk or record through the SSL G series. I think the key with anything is having the flexibility to be able to use whatever you want to in your palette, and [knowing] that you don't have to use it, simple as that. But obviously me, being at Abbey Road, there's not a day which I don't drive my car into the gates and park up and then walk down on my own and think, "Jesus! I can't believe I'm allowed to come in here!" Re-recording Mixer Josh Berger So, Josh Berger, you had two new arrivals this year: a CAS Award and a baby! Yeah! They came within weeks of each other. The baby's brand new. With the CAS Awards, I flew in the morning of the show, and back home the next day. I knew this baby could come at any time, so that was kind of my last "hurrah," which was really cool. The whole experience going out there was really great. Luckily, I've been able to take a little time now to spend with my family before the next project starts. We've known each other for a while. Is there a project that you feel was a springboard to the next thing that got you where you are now?