Mixing pure with Fab

Fab has been producing and engineering for over 12 years, working in studios all over the world in cities like Paris, Boston, Brussels and Stockholm, London and New York to name but a few.

Recently at his PureMix studio in the East Village of New York City, Fab has worked on albums for Toots & The Maytals, Lucy Woodward, DJ Mark Ronson, Debi Nova with Sean Lennon, Rick Marguitza, MAM, and a slew of other artists in development with Vini Poncia and Al Scotti. Fab has also worked on soundtracks for The Rocks' The Rundown, Washington Heights, and created commercial scores for Johnson & Johnson, Apple Computers, Motorola and The McGraw-Hill Companies among others.

How did you discover Oxford plug-ins?

I first got the Oxford EQ as part of the Digidesign Massive Pack. Originally I was kind of skeptical about the capabilities of software plug-ins. The Massive Pack was affordable enough that it was worth giving a shot. Then, everything changed.

How?

The Oxford EQ just kicked the hell out of every other plug I'd ever used. Actually, it was every bit as worthy as the stuff I'd been using in the analogue world. I started mixing my tracks in ProTools without using any outboard EQs at all and got amazing results. I got the same results as when I was mixing on, say, a Euphonix desk - minus the price tag.
Then I got the Oxford Dynamics - it's still my favourite Oxford plug-in to date. I gives me a killer, totally transparent compressor, with a separate limiter, gate and expansion modules, and side-chain EQ (that I sometimes use as a straight EQ in the signal path), and a great warmth control to top it all off - ALL IN ONE PLUG-IN! It's got a modular design so I can call up just the functions I need and save DSP. I have mixed entire tracks using just the Oxford Dynamics

No more analogue gear then?

I think that both analogue and digital have certain strengths. I sum all my mixes through a Dangerous 2Bus for example, but the combination of ProTools and Oxford plug-ins lets me mix in my room and rival the 'big boys' and their million dollar facilities. I must say that I cannot think of one analogue unit that does what the Oxford Inflator does for me in that respect.

What do you use the Inflator for then?

Everything. It's call it my 'sounds-good' plug-in. I use it on separate tracks to bring back the shine that bad converters took away, I use it to give an extra edge to the lead vocal when the tracks get busy, I use it to bring the drums in your face without taking all the room, and also use it to maximize levels on final mixes. I also use it to alter the colour of recordings. For example I love to use it on drum sub-mixes, at 100% ratio with the curve all the way down. It makes the drums sound dark, without being dull, which I could never really get with EQ.

Have you tried the TransMod on drums too?

It's on every kick and snare I mix. I started this company called PureDrums.net, where all we do is drums- day in, day out. We track real drums and release loops and refills for Reason and Sony's Acid. We just put out our first loop package -1200 loops. All mixed with Oxford plug-ins, TransMod on all kicks and snares.
I love how precise and subtle the TransMod can be. Unlike a compressor, it doesn't touch the dynamics and nuances of the players, it just lets you custom design the attack of your sound. It's like if you had as much envelope control as a synthesizer, only it works on acoustic instruments, and it's completely transparent and natural sounding. So if I find out at mix time that my snare lacks a little 'smack', instead of squashing it with compressors, and smothering the sound, I use Oxford TransMod and choose just how much 'smack' I want. The drum fills still sound like drum fills, not like apoplectic machine guns, and the musician's performance is completely preserved.
I also use it on badly recorded vocals or guitars to 'un-compress' them, and on whole mixes for crazy sound effects.
It's also great in combination with the Inflator when custom tailoring samples for Reason or the EXS sampler.

So, what's up next for you?

First I'm re-vamping my room in New York City for surround mixing, and opening a room in Paris too. They will be complementary, allowing me to take on European projects as well as US projects, and stay competitive price wise. I will have the full Oxford plug-in suite on both systems so that I can take projects around with me from one room to the other and not have any down time.
The maiden project in the revamped New York room is to finish my own second record. That's where I can go totally crazy and try new tricks without watching the clock or contending with other people's agendas.
I'm happy to answer any questions and I often post tracks and settings and stuff @ www.puremix.net

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