This is for all the wannabes, hopetobes, must be, have & has beens, wish I were or wasn’t, been there, done that, cursed with, wondering about, worried about, can’t live without, and/or just might be interested in a little bit of recording and overdubbing stuff before, during and after my many years at Columbia Records.
I guess that’s the gamut. Come on in for some interesting tales about some of my times in the music and recording business, my world record overdubbing escapades, with a few laughs at times as well as a few tears.
So just what is a Roughmix?
So, for those not quite so recording savvy, it’s like the expression, when you put all your eggs in one basket and run with it. Actually, it’s when you put all your recorded tracks from a tape or digital recording through a mixing board and do a quick mix for a reference. No tweaking or critical balancing is done and a quick rough reference is made to study and analyze the tracks to consider adding instruments or vocals, or just to continue on to make the final mix.
Here’s a mix coming together in the photo somewhere along the way, right after they turned our 49 East 52nd Street Studio B into a Duane Reed drugstore. The MCI board seen in the photo was taken from my favorite (trashed) Studio E and put in a mix room.
Me in Columbia mix room 415 -49 East 52nd St. in New York
I’ve always had an uncanny talent and ability when doing a rough mix, to run the recorded tracks to 8 sub-mixes with 8 faders, and ride each fader with a finger throughout a song, a lot of the time sounding like a finished master mix. “Miami” Steve Van Zandt, Bruce’s lead guitar player, who named Bruce “The Boss” hung “RoughmixDon” on me. Story later about the longest, coldest winter ever, locked in Studio B for 3 months with the Boss, Steve, and the Asbury Jukes.