DC
Superhet, Fold, London

Dave Cowshed

Some things just need to be heard properly. I don't impose on your sound — I extract what's already there.

Mixing and mastering.
Fold, London.


Very often the most prominent memory we have of an important time in our lives is the music we were playing at the time.

Music invokes memories and memories invoke music. Each and every part of a mix should be in service of this interdependence. After good writing and finding the right arrangement, nothing has a greater impact on this than achieving the right balance.

This balance is an evolving thing that ensures the right emotional focus in every moment. It's a journey. To go on it we have to step back and experience all the parts as one, not just as a collection of sounds.

Very often the most prominent memory we have of an important time in our lives is the music we were playing at the time.

Music invokes memories and memories invoke music. Each and every part of a mix should be in service of this interdependence. After good writing and finding the right arrangement, nothing has a greater impact on this than achieving the right balance.

Mixing
Hand on fader detail

The best mix is the different mix, the best ref is your imagination.

Not the version that sounds like the last ten records you loved, but the version only this one could be. References are useful until they become a ceiling.

Patch cables detail

This balance is an evolving thing that ensures the right emotional focus in every moment. It's a journey. To go on it we have to step back and experience all the parts as one, not just as a collection of sounds.

Mastering
VU meters detail

Loudness isn't the goal. It just needs to sound good.

On a club system, on a phone speaker, at 2AM or at midday. There's no correlation between how loud a record is and whether anyone remembers it. Optimisation, not maximisation.


Finishing

Artists rarely run out of ideas, only the steam to finish.

It's not a talent problem, it's a distance problem. Sometimes you just need someone standing further back.

Outboard compressor detail

Sound wants to be voltages more than it wants to noughts and ones. It has a pulse. Run it through a desk and the stems start talking to each other — crosstalk, saturation, noise. It's the imperfections that matter. The circuits sing with your song, never quite the same way twice.

Studio
The studio, full room
Consoles
Neve 5315
Neve 5432
Monitoring
PSI A21-M
IK Multimedia iLoud MTM
Yamaha NS-10M
Auratone 5C Active
Audeze MM-100
Conversion & Correction
Merging Technologies HAPI
SSL Alpha 8
Trinnov D-MON 6
Compression
PYE 4060
Neve 2264
Decca Compressor
TK Audio BC1-S
Mic Pres & Equalisers
Neve 1064
Tube-Tech HLT 2AM
Focusrite ISA110
Character & Space
AnaMod ATS-1
Quantec QRS
DAWs
Pro Tools Studio
Ableton Live
Logic Pro
Plugins
400+ plugins
Tone Projects
Leapwing Audio
TDR
Workstation
Mac Studio (M4 Max)
Synology DiskStation
APC UPS

Headphones and patchbay detail

“He doesn’t just make things sound ‘better’, he listens to what the record is trying to be and finds ways to bring that out.”

— Samantha Togni

Patching in at the studio
dave@davecowshed.com