Jack Joseph Puig’s tenure in Studio A at Ocean Way - always in front of the Focusrite console - was a 15-year period that helped to define an epoch of pop music. The result is an up-front energy with an in-your-face sound. Tracking was done at Sound City in LA, then mixed at Ocean Way Studio A. Following the massive success of the band’s first two records, Amorica hit a note with critics, who saw the album as a deliberate leap ahead in terms of their sound. Jack Joseph Puig produced and mixed The Black Crowes’ third album Amorica, released in 1994. I remember he used to grab me around the neck when he wanted to ask something and say ‘hey rasta!’ and then proceed to ask whatever he wanted to ask. His long time engineer David Segal engineered all his albums and created the recognisable Lucky Dube snare sound.”
“Lucky Dube was one of the nicest people I ever had the privilege to know. Schalk Janse Van Rensburg, in-house engineer at BOP Studios, recalls the sessions. He recorded the album Victims in 1993 at BOP in South Africa, which was home to the largest Focusrite Studio Console ever made (and also the only one wired internally with silver, not copper, cable). Lucky Dube was one of South Africa’s biggest reggae artists, tragically killed in a carjacking in 2007.
Here, we recall a small handful of recordings where the Focusrite console played a role. The big, open sound of the Focusrite found its way on to countless records, from band demos to chart-toppers. The Focusrite Studio Console was a rare machine only 10 were ever made, and they found themselves in some of the finest studios around the world, from London and Los Angeles to Tokyo and South Africa. I forget the exact term for what this does (something to do with phase relationship and the mics) but it can really make a HUGE difference in the sound.Recollections of the music made using Focusrite’s much-loved recording console. Make sure you experiment with shift-clicking on the distance knob. Night and day difference.Įdit: oh one last tip. I used it on an organ track on my latest prog rock song and it really made it work wonderfully in the song. If used in orchestral music you will for sure need to add a hall reverb after btw, this is really for placement and color - but boy does it really add something. I would be interested to hear if Jay uses the Ocean Way with EW libraries (close mic?) and how well it works.
#Ua ocean way studios plugin full#
You can still use it on full orchestra stuff as a send in "reverb" mode though, which would only take a couple for an orchestra, though I have personally not attempted this (most of my orchestral sounds have baked in reverb). I've learnt to either bounce down the tracks as audio after processing, or save my settings as a preset and deactivate the plugin when quitting for the night and manually reloading in the morning.Īs for distribution, I find its best on solo instruments as it sounds best to me in mic mode. And it wasn't like I was maxing out CPU either - had plenty of headroom. I've had instances I've loaded in a project that worked fine that day, but when I came to open the project later gave me memory errors and were unable to load! Same project, nothing changed, but the way it was distributed across my cores on reload made the plugin not load when I reopened the song. Its not just the CPU resources, but also the memory resources you need to consider.