Hopewell Junction, NY (May 26, 2010)–Recording/mixing engineer and guitarist Sean Gould relies heavily on Metric Halo’s ChannelStrip plug-in for his work with up-and-coming and established acts.
Gould, who always mixes in the box, uses three separate systems, all of which have ChannelStrip at the ready. At the studio, he uses a Pro Tools|HD3 system, but often takes projects home, where he works on a laptop and Pro Tools LE system. Gould is also comfortable using Logic, and often does, depending on the project. Part of ChannelStrip’s allure is its small CPU footprint. Gould can run more instances of ChannelStrip, even on his home LE system, than he would be able to with an equivalent number of separate EQs, dynamics and delays.
“ChannelStrip is always the first plug-in I go to when something needs a fix or a change to make it sit better in the mix,” said Gould. All instruments are equally favored for ChannelStrip processing–vocals, guitars, bass, drums, keyboards, or anything else that bands bring to their recordings. He’ll often add it to a drum bus or even the mix bus. “The interface is easy to look at and use,” he said. “It’s all right there–gating, compression, EQ–and all with selectable pre- and post-arrangements. It’s very versatile.”
“It’s funny, but I don’t even stick to the presets that are designed for the instrument I’m working on,” he said. “I invariably find something that makes me say, ‘wow, I never would have thought to do that, but it works.'”
Thanks to his close association with renowned production team S*A*M and Sluggo, Gould’s recent projects have included We The Kings’ Smile Kid; Metro Station’s “Shake It;” Train’s Save Me, San Francisco; Boys Like Girls’ Love Drunk; and Uncle Kracker’s Happy Hour.