"Grammy-winning engineer, mixer, and producer Eric J Dubowsky cut his teeth at Manhattan’s iconic Greene Street Studios, where he worked alongside hip-hop production powerhouses like Bob Power, Nick Sansano, and Rod Hui, and later, at Atlantic Records, with the legendary Arif Mardin. The New York native also engineered albums for Weezer, The Chemical Brothers, St. Vincent, Odesza, and hundreds more.

Recently, Eric has garnered a lot of attention for the cinematic, stunning mixes he’s turned in for a fresh generation of electronic artists under the Australian “Future Classic” umbrella, including Chet Faker, Flume and more. We caught up with him to plumb the mystery behind the unusual level of stereo width, low end spread, and vibrant top-end detail in his mixes"

https://www.uaudio.com/blog/eric-j-...campaign=2018+October+-+Blog+Eric+J+Interview

 

"So what do you do to wrangle all of that bass information?

There’s a lot of EQ sculpting that needs to happen all the time. Because of this, I’ll use transient designers, perhaps just focusing on the front of an 808 sound. Sometimes I’ll split the kick and the bass into different components of the envelope — for example, maybe I’ll emphasize the midrange of the attack on one, and the low end of the decay on another. Honestly, I never dealt with these kinds of low end challenges before mixing electronic music. I also use distortion and saturation to add upper harmonics.

There has definitely been a learning curve. But I spend so much time doing it these days that it has become very natural. I spend the vast majority of the early part of the mix process just on the kicks and basses. That alone can take hours."

 

"That alone can take hours."

 

yes i also posted this because i like Flume production a lot