However, despite the inherent difficulties involved in actually describing Stavrou's approach in a written form, these chapters do make genuinely exciting reading, and should certainly inspire any recordist to re-assess their mic technique. Given that Stavrou avoids technical explanations, I think it is a shame that no audio examples were provided here to exemplify the differences between 'hard' and 'soft' sounds, for instance, as this distinction is at the heart of his strategy for choosing mics. The value of this section of the book is difficult to assess, as Stavrou relies on a variety of extremely subjective terms in his discussions, and these could easily be misinterpreted by readers.
And if you think you can guess what order he suggests, guess again!Ī good third of the book deals with recording - effectively fixing things before the mix - and hinges on Stavrou's very unusual and subjective approach to mic selection and placement. Thus the chapter on compression doesn't tell you about the mechanics of a compressor, but instead discusses what order to address the compressor controls for the best sound. However, Stavrou breaks from the norm, by deliberately steering a course away from scientific or technical discussions, taking a relentlessly left-field approach to the subject in search of practical solutions to practical problems.
In his book, Stavrou collects together a generous fund of engineering tips, tackling not just mixdown, but the recording process as well.
Even if he hadn't engineered for big names such as Elton John, Paul McCartney, and Cat Stevens, Sir George Martin's glowing foreword to Mixing With Your Mind would leave me in little doubt as to his credentials.
#Mixing with your mind torrent how to#
Michael Stavrou clearly knows how to get great sounds on record.
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