Adrian Hall (Tori Amos, Depeche Mode, Goldfrapp)
Since going freelance in 2004, Adrian Hall has been an in-demand mixer, engineer, and producer. His credits span big-name artists such as Tori Amos, Depeche Mode, Goldfrapp, The Black Eyed Peas, Alicia Keys, Robbie Williams, Shakira, and Robyn as well as more independent acts like Anna Calvi, Big Deal, Young Knives, and Amber Run. Hall has mixed major live releases in both 5.1 and stereo for Depeche Mode, Robbie Williams, Shakira, and Youssou N’Dour.
Tell us about your current studio setup.
My current mixing setup is based around a Pro Tools HDX system, with 24i/o and plenty of great hardware outboard units from SSL, Universal Audio, Empirical Labs, Rupert Neve Designs, and many others in a hybrid setup. For monitoring, I have five(!) different pairs of speakers for stereo. I use Genelec 8351b's as my main nearfields, and then a variety of other speaker references, including Yamaha HS5, Avantone MixCubes, and a Bose Sound Dock. I also have a full 7.1.4 Atmos setup using Genelecs.
Having worked on so many songs over the past few years, how do you stay fresh and excited about making music these days?
My mixing approach will vary considerably for every artist that I work with. Sometimes, the rough mixes that the artist already has are really great, and it's my job to just make it sonically better, in whatever way we decide that it needs to improve. Other times, the artist will want me to bring a fresh perspective to songs that they may have been working on for a very long time. It's vital to have a discussion before the mixing process about what it is that the artist likes or doesn't like about their current mixes, and what their expectations for the mix are.
How do you typically approach the mixing of a song?
One of my most memorable mixing projects was doing the 5.1 and Stereo mixes for Depeche Mode's "Live In Berlin" DVD and album. The specific request from the band was for it to feel like the listener was at the show, for it to feel as real and exciting as possible, so the positioning of the audience capture mic's was crucial. The band invited me out to Berlin to help with the recording of the show over two nights, and we picked the best performances from those. It was incredible to be in the venue with their fans, to see the amazing visuals, and feel the energy of the band. Then I mixed it all back in my studio in London, in surround and stereo. It was mastered at Abbey Road, and then combined into Anton Corbijn's film of the concert.
The project that I am most proud of recently was mixing the new Tori Amos album "Ocean To Ocean", in both stereo and Atmos. I am a huge fan of hers, so it was a privilege to work with her on the mixes at her private studio. Once the stereo mixes were mastered, I did the Atmos version of the album at my studio.