<\/strong>Renowned for his ability to work in old-school rooms, with a new-school approach to incorporating the latest digital recording tools, Robinson has been celebrated for contributing his sonic touch to records like Voivod\u2019s seminal 1989 heavy metal album, Nothingface<\/em>, in addition to the Dave Grohl side-project Probot.<\/p>\n\n\n\n
\u201cI cut my teeth as a studio rat by spending a lot of time in residential studios,\u201d Robinson said. \u201cPeople would sleep in the guest house, and you\u2019d wake up and have breakfast together, and sit with them in a room for a month. And, if you\u2019re really observant and respectful, it\u2019s the best learning ground in the world. You\u2019re charged, and sometimes it\u2019s painful \u2014 but sometimes it\u2019s epic.\u201d<\/p>\n\n\n\n
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As a producer, Robinson says the time he spends getting to know the artist during pre-production and rehearsals, as well as time spent around recording, is crucial to understanding the artist\u2019s vision, so that he can learn their influences and intentions before any tracking begins.<\/p>\n\n\n\n
\u201cAt the end of the day, it\u2019s their record, not yours,\u201d he said. \u201cI bring in objectivity, and I hear in my head how it should sound when it\u2019s finished \u2014 but it\u2019s all about vibing with the people and understanding their tastes and spending the time.<\/p>\n\n\n\n
\u201cI usually start by asking any artist I\u2019ve never worked with before to email me three records that they like, so I can get a sense of the sound they\u2019re going for. Then I try to build the relationship and figure out what molded the tastes, to find some common ground and to know where they\u2019re coming from, which helps develop friendship and trust during pre-production.<\/p>\n\n\n\n
\u201cAnd, then, some things you work on will just tell you immediately how to mix it. It\u2019s like it\u2019s a different person doing the work, and you almost start levitating when you hear it. Super moments like that make it all worthwhile.\u201d<\/p>\n\n\n\n
An analog perspective on digital recording tools \u201cI really appreciate digital recording technologies now,\u201d he said. \u201cIt took me a long time to get into Pro Tools, which I did 20 years ago. But once I did I was hooked on it. Suddenly, calibrating and aligning a tape machine was no longer an issue. Another problem it solved was inconsistency. It was very rare to find a studio that was well maintained, unless they had an in-house maintenance guy. <\/p>\n\n\n\n \u201cWith digital recording tools, it\u2019s an incredible time to be recording music now,\u201d he continued. \u201cThese days, I just need great preamps, a great converter and a fast computer, and I can work anywhere.\u201d<\/p>\n\n\n\n While digital technologies today let Robinson mix wherever he wants to work, he often prefers to work out of his Upper West Side studio in New York, where he mixes and masters with ProAc Studio 100 monitors calibrated using Sonarworks Reference 4 Studio Edition software. <\/p>\n\n\n\n \u201cI noticed as soon as I turned it on that Reference 4 clarified everything in the low end and upper mids,\u201d Robinson said. \u201cWhen you understand how audio works, to see that frequency response correction was incredible. Everything is where it should be.<\/p>\n\n\n\n \u201cSonarworks allows me to take a big studio with a full-blown A room and get it to the right place where I can hear certain details. I don\u2019t need to be in a $3,000 a day room. If I\u2019ve got a calibrated room already, I know my speaker, and I\u2019m ready to go. Whether mixing or mastering, I have full confidence using Reference 4.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":" Award-winning producer, mixer and engineer brings an in-depth understanding to the latest digital tools Award-winning producer, engineer and mixer, Glen Robinson, has spent the past four decades making records with some of the most iconic names in music. Having honed his chops in the 1980s at Le Studio Morin Heights, near Montreal \u2014 where he…<\/p>\n","protected":false},"author":14,"featured_media":5815,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_improvement_type_select":"improve_an_existing","_thumb_yes_seoaic":false,"_frame_yes_seoaic":false,"seoaic_generate_description":"","seoaic_improve_instructions_prompt":"","seoaic_rollback_content_improvement":"","seoaic_idea_thumbnail_generator":"","thumbnail_generated":false,"thumbnail_generate_prompt":"","seoaic_article_description":"","inline_featured_image":false,"seoaic_article_subtitles":[]},"categories":[82],"tags":[],"acf":[],"yoast_head":"\n
<\/strong>Having started his career in an era of all-analog recording techniques and equipment, Robinson had already mastered his studio craft by the time digital recording technologies began to hit the market. As those technologies improved and promised to eliminate many of the time-consuming aspects of an all-analog workflow, Robinson started incorporating digital tools into his arsenal. <\/p>\n\n\n\n