Hi, I’m Andrew Scheps. I’m a mixer, producer,
engineer. I’ve been very lucky to be in the right place at the right time on a lot of
records. I’ve managed to win Grammys for my work on Adele’s “21” and Red Hot Chili Peppers’
“Stadium Arcadium,” which I’m awfully proud of. This studio’s called Punkerpad West, and
now my standard credit is “Mixed by Andrew Scheps at Punkerpad West, Van Nuys, California.” As we go down the list of these records they’re
all very different. I’m always looking for the kind of power and explosion that you would
get from a punk track. So, Adele, I sent the mixes to Adele when we finished. She’s like
here’s an email address, send them to Adele. Then, the album came out and four of the mixes
were on there. You can never know that something is going to be as successful as that. Red Hot Chili Peppers, yeah. I mean I’ve been
really lucky. I’ve worked on the last three records with them. Mixing Jay-Z “99 Problems,” I wasn’t aware
at all of how huge that song was. I had no idea. But, as it turns out, for my kids that’s
the one where their friends finally think that their dad’s cool. I’m a big believer in the balance should work,
especially if I’m mixing something that was cut with live musicians. So, I’m always trying
to get back to that point where it sounds like the record but works like a rough mix. Behind me is one of my magnificent Neve 8068
desks. These are obviously a huge part of everything I do with the fine faders automation.
Then, there is the behemoth rack of outboard gear. EQ wise, the Neve is obviously pretty genius.
If I had to pick one EQ it would be a 1073. The 1073 is probably the classic mic-pre
and EQ in recording history. The plugin we’ve done I think captures the
equalization really, really well. It sounds just like a 1073 to me. We’ve had the added
bonus of finding a little known band, a 10K midrange band, that was used on the 1078.
We also spent a lot of time making sure that it broke the way a 1073 would break. If you
push it hard you get distortion and does that distortion sound right? We spent a lot of
time making that distortion correct and useful. Then, also, brought in one element of a lot
of the stereo processing plug-ins now where if you use a stereo version of the 1073 you
can decide to EQ mid-side as opposed to left right which works into a lot of people’s work
flows these days who do a lot of mid-side processing and not to have to decide the EQ
before you encode or after you decode. You can actually put it in as part of the process. I think that we’ve done a pretty good job
of making this plug-in act the way I’m used to when I reach for the hardware.