Gone or Still Going by Dan Wade was recorded primarily on a home studio rig. The artist engineered the entire song with the exception of drums using Garageband with a Focusrite Scarlett 2i2 into a Macbook. Drums were excellently recorded by Matt Holmes at The Echo Mill in Chicago Illinois.

The song was missing a little flair, so Dan enlisted the help of his former Treaty of Paris bandmate Michael Chorvat, who provided the backing vocals. Michael recorded these vocals on his own rig.

From a mix perspective, I was instructed to make it LOUD and to make the drums REAL LOUD. I went back to the early 90s to listen to some big loud snares, Nirvana circa 1991. It was hard to make the drums loud without overpowering the mix, as there is a lot going on in the song. I found a middle ground as the snare and kick pop but do not drown out the vocal. The kick and snare are stacked with two samples each, both birch samples as that is what the drummer was using at the time. The snare has a total of 4 tracks running before bussing including two separate sample tracks, the main overtop sm57 and a sm57 bottom. The kick is also four tracks, two sample tracks, and the inside and outside Beta 52a. What really ties the drums together is the room mic setup at Echo Mill, which includes a stereo room, and a basement room mic under the whole studio.

Guitars and bass were simple to layer in, as Dan is a skilled guitar player with excellent equipment. Minor EQ and delay was all that was needed aside from leveling. Bass was DI so I had to reamp in mix, but it came out sounding smooth.

We layered a ton of vocals into this song. The lead vocal is running a de-esser, two compressors and 3 EQs (a low shelf, a hi cut, and then a graphic). This was then bussed out to 4 separate tracks, one with a clean vocal, one delayed, one dirty tape saturation using the stock LoFi plugin and then a final track running a generic SansAmp all blended. Most of the backing vocals were sent to a stereo buss with similar setups and hard panned. The fluff tracks were all varied, some telephoned, some crushed through compression.

All in all, a pretty straight forward mix and I love how it came out.

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Relocating to the Miami Valley to be closer to family, Scott bring decades of experience from his hometown of Chicago. Customizing his mixing room, Scott specializes in remote mixing for songwriters across the globe. Scott will partner with any Dayton recording studio to help see your project to completion.

Home Project Mixing – Dayton Recording Studio.

Understanding the needs of home recording projects, Scott has developed a process to help get the most out of these home sessions. In addition to being a skilled mixer, Scott is an expert at Pro Tools editing, and will gladly assist with any vocal comping or drum editing project, If you would like to mix yourself but just to add some sparkle to your sessions, Scott will provide overdubs and musical enhancement.

Vocal Editing and Production.

Elevate Mix Lab contains a professional vocal booth for voice over recording or vocalists of all genres. In addition to providing quality tracking, Scott is a vocalist himself, and a seasoned professional at vocal composition and an expert user of Antares Auto-Tune.

Microphones available for use for Vocal Production:

• AKG D414
• AKG D214
• Blue Dragonfly

Drum Editing.

Understanding how to edit to a grid is important to get mixes sounding professional. If your drummer can play to a click track, Scott can grid it. In addition to editing, Scott is proficient at drum stacking, which is a large part to what makes a mix sound major label quality. Scott has a 55gb library of drum samples at his disposal, from modern drum kits to vintage sounds.

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