it's just a little section of an interview with pole (http://www.youtube.com/watch?v=SplTd1JzPxs) check the whole interview on the link at the bottom

guess this is a good opportunity to ask what would you advise, on a core level, producers get right in their mix-down?
I have to say one sentence first. If you start producing, make sure you that you have a room in which you can trust the sound that you hear. Listen to a lot of records from artists that you know and like and try to understand the room. If you feel comfortable in this room and if you think you hear the bass clearly and the high end clearly then start your mix-down. Follow the idea that everything that sounds good is probably in the right position in the mix-down. If the snare hits your ears and you make it louder and then it really hurts you, you can be sure that the snare is not well EQd and is not balanced right in reference to all the other instruments in the mix-down. So this is the first step: listen to it and decide, does it sound good or better, does it sound like I want it to? The balance of instruments is important.
How much do you think the quality of things such as EQ plug-ins that you use during a mix-down will make a difference to the overall quality of the recording?
It's not really a question of high class equipment to get a good result in your mix; it's a question of you listening to what you do. You can use a cheap compressor—this might add some noise to your system because it doesn't use the highest quality components, but it is a compressor and if you reach the goal that you want to go for then it works. It's always good to have better equipment, but this will grow in time anyway. When I started mixing for my first Pole album I had a Behringer compressor and I had one cheap EQ; I had a 16 channel Mackie mixer and I made my first three records on this mixing board. It doesn't really matter.
If someone was to say to you, "I'm going to try and master my tracks at home," what would you advise them? Would you simply tell them not to bother?
I had this discussion with a young artist from London just recently or basically with his manager, because his manager said "I am releasing many online releases of this artist as promotion. It becomes really expensive to go to mastering every time." So he asked me if I could explain to him a little bit how to master his music himself in his studio. I said: "That doesn't really work because he would need a lot of experience," but what I suggested was that he should learn how to do better mixes, because the better the mix is, the less you need mastering.
So in theory there could be a perfect mix-down and you would not need mastering, or not that much. The artist or the producer in his studio should not think about "How could I become a good mastering engineer?" He should learn better how to become a good mixing engineer. Then it solves the same problem. Don't waste your time learning a different profession; mastering is not mixing, it's a different profession with different skills, different equipment and different knowledge.
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