Pete MoshayNew York, NY (April 10, 2008)–Pete Moshay, a Grammy-winning engineer/producer/mixer who has worked with Average White Band, Ian Hunter, Barbra Streisand, Hall & Oates and many other first-tier artists, is a confirmed Sonnox plug-in fan.
One of Moshay’s current projects is recording and mixing Live From Daryl’s House, a monthly webcast created by Daryl Hall. “The show features Hall and his special guests performing in the ‘Great Room’ of his upstate New York house,” Moshay explains. “It’s made from hemlock and hard pine, and it has an amazingly distinctive sound. The show is pretty laid back, with Daryl doing classic Hall & Oates material, songs by other artists, anything that strikes his fancy. It’s fun, off the cuff, and the music is always great.”
A fan of Sonnox Oxford Dynamics and EQ plug-ins, Moshay also puts the Limiter to good use. “It’s great for providing extra density for tracks,” he says. “I’ll ease it across the bus mix, very gently, and open it up with a bit of the Enhance feature. It’s an incredibly musical tool and the perfect touch at the end of a chain. I particularly like the EQ,” he adds. “You can get a super-tight Q and notch things out, but always remain totally musical.”
Moshay captures Hall’s performances with a mobile hard-disk recorder, using a combination of stage and studio mics. He then transfers the material into Pro Tools for final mixing and editing. New shows, available free online, must be ready to roll by the Fifteenth of every month.
The most recent show was recorded with KT Tunstall and Nick Lowe in Hall’s home in England. The sessions mark Moshay’s first experience with the new Oxford SuprEsser. “It’s a very innovative de-esser,” he says. “It enables you to hone in and get the vocals way out in the mix without poking somebody in the eye with sibilance.
“The level of control Sonnox has built into this plug-in provides it with much more versatility than standard de-essers,” he adds. “You can change the attack and release time in the advance mode, and you can manage the compression to avoid hitting things too hard, or permitting too soft a release. You can also use it to shape sounds the way you would with the Transient Modulator.”
Moshay finds the SuprEsser’s visual feedback helpful. “You get instant feedback watching the FFT,” he notes. “If you want to get right to that offending 6 kHz peak, you can get in there and nail it. I’ve been de-essing my whole career, and basically working ‘by ear.’ But no matter how good you may be, the ability to actually see what’s going on lets you zero in and do the fix immediately.
Of the SuprEsser’s automation features, Moshay says that, “If you want to go line by line on a vocal, you can automatically shift a frequency to find a specific peak. You actually see what’s going on and then automate it to fit. And the instant visual feedback has no negative effect on the SuprEsser’s ability to retain the music quality. This isn’t just a new toy for your software collection, it’s a genuine innovation, an important tool that’s going to be getting a great deal of use.”
Following their London trip, Moshay and Hall took Live From Daryl’s House to the South by Southwest Festival where they recorded a show with Liam Finn and Chuck Profitt. On the horizon is a project with Mutlu, a new Philadelphia-based artist on Blue Note. Hall plans to work with a number of newer artists to keep the show fresh and interesting.
Live From Daryl’s House
Hall & Oates