What was the raw state of the tracks when Moby came to mix at Chung King?
Everything was pretty dialed in to where he wanted it. I think he wanted to send this stuff into the Neve VR desk to give it some character, depth and dimension. I cleaned up some lax edits and made things seamless where he might have initially hodgepodged them together.
Were you surprised to see that Moby's editing work was less than perfect?
No. When you get the spark of an idea, you just want to get it down and start building upon it without worrying, "Is that exactly right?" There were a couple of those moments. Ken Thomas wouldn't enter the room until everything was prepped and ready to be looked at, as opposed to coming in and having to say, "Take that blip out." I was setting up mixes and applying compression where needed — just worrying about the peaks and balances, so Ken could approach it from a more creative perspective. There was a lot of drum layering.
That's surprising to me, because it sounds very stark and personal.
