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    "At this point I believe that any mixer out there should competently be able to do a mix in the box or on a desk, and be able to get a great‑sounding record either way, If I could, I'd work on an SSL 9000 every time, but I can't do that, because there would be recall and other issues to deal with. Will.i.am's Lost Change was the first record that I mixed entirely in the box, in my North Hollywood studio apartment, mainly due to the beer budget at the time. That was a great learning process, because I learned that you need to really focus on getting your digital gain structure right if you want things to sound really good. Plug‑ins also have a sweet spot. But when you know what you're doing, I don't think it really matters whether you are mixing in the box or on a console, you simply need to find a way to make it work. If you listened to a bunch of records that I mixed in the last couple of years, I defy you to tell me which ones were done in the box and which ones on a console.”-Dylan Dresdow. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    First of all, how did you begin working in sound design?Johnnie Burn: I was actually at university working on a business degree, and I wasn’t geling with it. I thought “what am I doing here?” and I left to go get a job. A friend of mine was a film producer said there was a job open recording sound in London SoHo. He thought I’d love it because I was DJing at the time. It was luck that helped me fall into working as a runner in a recording studio. I worked my way up from that.I have been very lucky my entire career, both by starting my own company twenty years ago and working with Jonathan Glazer. I’ve done most of his work, and he really likes the details. He especially like works through the details face-to-face, and it’s very difficult to not learn a lot when you’re sitting next to one of the world’s best directors and he’s telling you why a piece of sound works with a shot.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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