Jason Joshua

So this is the modern stuff that everybody can see and touch.

And I remember Jason Joshua and Joey Kiones, they made a record, The Town I'm From.

And when I heard that, I was just crazy for it.

And I remember my buddy saying, oh yeah, that's a cover of The Midnighters.

Or what I do is I'm just very careful on how much...

it is limiting but normally I'm just looking to see right it's almost like my finalizer in a sense where I'm just going right let's play with this one knob and let's just see where the mix and i really like it because it's got the unity gain function so what that allows me to do is going right how loud can i push this and and again this is why monitoring is so important because i'm just pushing pushing pushing pushing and i just go there it is there and you know if you've done enough critical listening you know when it's like right a b bypass and again unity gain and i'm going right okay i'm losing something i'm maybe losing too much low end again i'm losing energy i'm losing transients the snare's going the a little bit and I'm like right okay let's tuck it back let's tuck it back and you know sometimes it's a combination because again AL1 has a sound and it's like it's strange how like limiters all kind of have a sound in the way they do different algorithms so sometimes I won't do flatline I won't like it other times I'll now use the AL1 but normally it is normally flatline master plan on the end but sometimes again there's been a few acoustic tracks that I'm like right know what I'm going to do I'm just going to do flatline and AL1 or sometimes it will be just AL1 or it might be flatline too because all I mean it's just little moves I'm not doing like 3db 5db fucking 2db it's like genuinely just little moves and I'm just seeing every time in a little chain because this was something I got taught by Tura Medina who we've had on the podcast before again Latin Grammy winning engineer and he said to me Paul always do your stacking always stack the limiters Paul because and the same with vocals he was like Paul I do always stack compression on vocals because it's always better to get a few processors doing little moves than to get one processor doing big moves it's very much a Jason Joshua technique as well because you do hear it so yeah that's so it's a very my two bus isn't like I don't like a very fixed thing that's like yeah that's it and you mix into it and that's it it's a working progress it's a working progress that's what I would say my two bus is there are certain fixed things that I do with the gain staging and again you know I'll always always have the go into the limiter and mix into that but it's the final parts and then sometimes sometimes I used to do this more not as often now because it can change the sound a lot If I remember, I'll then go to Ozone.

And what I normally do is I do Ozone after Mixboss.

And then what I'll do is I'll just, I never use the Maximizer.

And basically he said, there's no need for mixing anymore.

And even Jason Joshua chimed in.

Yeah, he did.

He took a punt and said, this is absolute bollocks.

He's probably made a lot of friends with people who were on that bandwagon and agree with him.

But he's also alienated himself from quite a few professionals, I would have thought.

And if you've pissed someone off as high up the chain as Jason Joshua, you probably want to be having a look in the mirror and thinking, was that wise? And back to some of our other episodes.

Why did I feel the need to say that?

But it's, like, in that style.

Jason Joshua, and he's ...

And the, that whole-

Yeah