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About

Andrew Maury is an American record producer, mixing engineer, and writer based in Brooklyn New York.

Management - ollie@sparkmusicgroup.com

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Discog
Shawn Mendes, Shawn Mendes
Shawn Mendes, "There's Nothing Holdin' Me Back"
Flor, "Slow Motion"
Lewis Del Mar, 'Lewis Del Mar'
Delicate Steve, 'Till I Burn Up'
Post Malone, Stoney
Kimbra, 'Sweet Relief'
Dean Lewis, "Straight Back Down" and "Time To Go"
Grace Mitchell, 'NOW'
Teddy<3, 'LillyAnna'
DD Walker, Malibu EP
Youngr, 'Ooh Lordy'
Cautious Clay, Table Of Context
CRUISR, 'Go For It'
Mondo Cozmo, 'Your Motherfucker'
Flor, 'Come Out You're Hiding'
COIN, 'How Will You Know If You Never Try'
RAC, 'Ego'
Strange Names, 'Use Your Time Wisely'
High Highs, 'Cascades'
Ask Me Anything
Collage
@Cian Riordan asked:
Your hair. How often do you shampoo? How often condition? Straight tap water or softened somehow? Ever try taking a bath in bottled water? What's your stance on jellied meat? Is Decapitator a good plugin? thnx
@AMP replied:

gonna start adding dates to responses. things change fast these days, ppl. / 9.10.2019 / hi cian. shampoo is enemy - once a week or an "alternate" product. condition if i feel like stealing some of my wife's - a special treat. NYC tap baby. the bathtub is too small to use. had to google it, looks absolutely terrible. Decapitator is great - I think a "Decapitator II" would sling mad licenses.

@RANDY asked:
What was on Jeremy's voc chain for 'all the kids are depressed'
@AMP replied:

Just a little bit of serial CLA76 and UAD LAD2A compression. Like, a LITTLE. Jeremy pre-mixes his tracks very tastefully before handing off to me. I'm not sure what he did but he has eagle ears and amazing taste. This is true of all his songs. Mixing his stuff is really only about setting a stage for the song to feel a little bigger and more 3D. All of the noticeable tonality/style/effect/compression is him.

@Josh Caspian asked:
flor - hold on is actually wrecking me. The articulation of each element without being harsh is unreal. What's the secret?
@AMP replied:

That record and band are really special to me. That album turned out great. I remember when I got the rough mixes about a month before I started mixing, I listened to the songs to death because I really loved them. I even developed a fear that I wasn't going to do it justice. Phew. Dylan their bassist is a great arranger and producer. The puzzle of tones and rhythms across all the parts make a lot of sense and thats why its able to sound so clear. Its also a wide bandwidth production -- low lows and high highs are all musically considered.

This album was mixed when I was doing a hybrid ITB/OTB approach. I don't think its good BECAUSE of that though. Its just a context. There's a lot of hardware KuSh Audio Clariphonic mid+high boost on the mix bus. I might have overdone it because I remember having a revelation right before mastering that all the mixes sounded better when I added a pretty aggressive and broad digital EQ boost in the mids/low mids around 800hz. And then I remember getting the masters back from Dave McNair and thinking they were super bright again. But he nailed it. I dunno... good song, good arrangement, lots of conviction, like minds, get the right balance, EQ it until it works!!

@Tano Broxk asked:
Hi Andrew! I’m wondering, what target loudness in LUFs do you shoot for when mastering? Do you master to different loudnesses for different platforms? Or is the same master sent out everywhere?
@AMP replied:

In 2018, the streaming service auto leveling conversation got intense. Mostly about Spotify, whom impose the setting *on* by default. To date, they have not shared their leveling algorithm with the music making community. I was thinking about this a lot at the time, and was getting psyched out by numbers and technicalities etc etc. There are sites like loudnesspenalty.com that somehow give you information about what the services will do to the file.

Bottom line for me right now (2019) is that there seems to be a degree of loudness per song that really does the mix justice. Some songs feel best with clean headroom and a really open 3D soundscape. Some songs feel best creamed and distorted and flat right up against the glass of 0dbfs. There is a very specific texture that you get when a mix is “grinding” against the ceiling. Do not underestimate this. If you haven’t yet developed an ear for this, I recommend you work on it. Different limiters and saturators and compressors have different sounds. Building a master chain that complements the mix can be a complex art. Some mixers are skilled at getting a mix to sound complete without a ton of processing at the finish line. Others lean on it heavily. I use both techniques.

I weigh the moment in history we’re in... where cd loudness wars resulted in a taste for sound that is heavily limited and compact in dynamic range. Remember: the sound of popular music out in the world has created an expectation for the average person. This is a completely subjective thing that evolves slowly with time and artist trends. A lot of popular music is CRUSHED! The general public has no idea what RMS or LUFS or any of that is. They don't even know what a compressor is. Many don't even know the concept of how multitrack recording works. They just hear a song and the sound of that song. The mix should feel great. Smashing a mix into the ceiling is sometimes how I get that. Sometimes it’s the opposite. Sometimes I want the kick and bass to ring free with zero distortion or transient compromise. Those songs may need to be a little quieter. Listen to the relationship between density and transient detail and find the balance that animates the song best!

@Luca asked:
Hey Andrew, I'm a techno producer, how many db do I stay under the 0? Tipically I stay around -6, it's ok for preparing the track for mastering? Thank you for the answer!
@AMP replied:

the numbers dont matter when you're under 0. no difference in sound quality if you deliver your mix at -20 or -2. a 24 bit audio file has an immense amount of perfectly clean headroom (140db from 0 to the noise floor)

@Anton asked:
How do you mix your guitars? Any go to plugins or EQs?
@AMP replied:

SSL channel is always useful. Also a fan of Sly-Fi Axis for adding saturation+EQ. Soothe when the recording is really problematic / resonant. Sometimes Decapitator to add more grit/texture.

@Derrick asked:
What's on your drum bus usually?
@AMP replied:

It varies a lot, but I have been a fan of what the API 2500 does generally. Sometimes I do a parallel "smash" of the drums rather than process the drum buss. Sometimes the UAD Studer A800 in 30 ips mode enhances the subs in a really great way. Pultec high shelf boosts. I notice a pattern that any time the drum bus gets loaded up with a ton of stuff (more than 3 plugins), I end up scrapping it for a more simple chain... it always seems to sound better with less processing.

@Jack asked:
What was Shawn Mendes' vox chain on Lost in Japan?
@AMP replied:

I'd have to pull it up, but a lot of Shawn LP3 vocals have the waves C4 with the top boosted. Its quite a distinct sound. The "pop vocal" preset is a good starting place. Credit to the producer, Teddy Geiger, on that tip! The PT sessions came with C4 in the vocal chains. I had never really found a use for it prior, but I kept them as I reworked these mixes.

@Alex Ponce asked:
What reverb did you use on Shawn Mendes's Vocals on There's Nothing Holding Me Back??
@AMP replied:

looking at the session, there are 3 verb sends that different tracks / sections use in different amounts.

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@Jared asked:
I know every song is different, but on average how long do you spend on mixing one song? How long did it take for you to develop your mixing process and strategy?
@AMP replied:

Best case scenario tends to be that the artist signs off on the mix after 2 revisions. Worst case scenario... i've gone up to #18. With high revision counts, its often the case that I end up helping with the production, editing, arrangement, and integrating additional layers along the way. I think on average, I spend about 10 collective hours working on a song and its mix 3-7 that goes to mastering. I find it most comfortable when there is time to sit with the mix over the course of 2 weeks. With perfect ITB recalls, it allows me to chip away at a mix with a lot of fresh perspective.

@Cameron asked:
Hey Andrew! For Coin’s recent album did you oversee mixing for the whole album or several songs out of the album? If several, I’d love to know which ones.
@AMP replied:

Tim Pagnotta produced + mixed 4 songs on the record and Chad Wahlbrink mixed 1. I mixed the rest. We did not communicate with each other, but the album feels cohesive to me!

@Walter asked:
Have you ever mixed a famous album only "in the box"?
@AMP replied:

I have been mixing ITB exclusively since the end of 2016. I'll let you determine which of those releases count as "famous" :)

@Ryan asked:
Do you mix in Logic X?
@AMP replied:

As I answer this question in October of 2018, yes. I usually mix in Logic because I prefer it and know it best. Sometimes I mix in PT if it seems like its going to be a smoother process to work from someone's production session file. I think arguing about the sound quality of DAWs is a massive distraction. I've done tests comparing PT and Logic with a routing scheme and array of many plugins that had identical settings. To my ear, there was no stark difference.

@Mehmet asked:
Those blue cylindrical things... Are they bass traps?
@AMP replied:

yes - theyre ASC Tube Traps. i have them configured in what is called an "attack wall." look it up!

@Donny Ingram asked:
Are you from Bethesda, MD?
@AMP replied:

i am

@Aaron asked:
The vocals on coins album are awesome. How did you get that distortion? Is it tape or is it a decapitator? Love your work man.
@AMP replied:

likely decapitor, yes!

@Davide asked:
How old are you?
@AMP replied:

born in '85

Sending...
Thankyou!