Dave Way (Michael Jackson, Paul McCartney, Beck)
Four-time Grammy winner Dave Way has mixed or produced dozens of multi-Platinum albums and hits for artists such as Michael Jackson, Paul McCartney, Fiona Apple, Beck, Eric Clapton, Neil Young, Macy Gray, Kesha, Foo Fighters, Christina Aguilera, Prince, and TLC. Way famously recorded and mixed Macy Gray’s debut, On How Life Is. He has also mixed the score for the films Echo In The Canyon, Flag Day, Reminiscence, and Stand Up Guys.
Tell us about your current studio setup.
My current setup is for mixing and recording using Pro Tools, 2020 Mac Pro, KRK Series 4 V8’s and V6’s with subwoofer in a 7.1.4 Dolby Atmos array, Focusrite Rednet with Dante interfaces, and an Avid S4 surface. I have lots of analog outboard gear that is now just used in the recording phase, such as Neve, API, EAR, Telefunken, Urei/Universal Audio, Rockrupel, Alan Smart, Monheim, Inward Connections, Motown, Ampex, Focusrite, Undertone, Emprical Labs, Peter Montessi, GML, Neumann, Marantz.
For recording, I have lots of vintage and newer microphones by Telefunken, Neumann, AKG, Coles, Beyer, Royer, Audio Technica, Sennheiser, Shure, and others.
There are also plenty of vintage instruments including guitars, bass, drums, pianos, organs, Wurlitzer, virtual synths, amps, and cabinets. Basically, all the staples you need to make most kinds of music.
Having mixed and produced so many songs over the past few years, how do you stay fresh and excited about making music every day?
I love what I do so I don’t find it hard at all to keep motivated. I’m particularly excited about mixing in Dolby Atmos and other immersive formats. This is the biggest and most exciting leap in audio that I have seen in my 30 years in the music industry.
How do you typically approach a mix?
I mostly approach a mix by just starting and moving quickly. I don’t always start the same way, and it will depend on what kind of shape the music is in before I get it.
I don’t really use templates unless I’m mixing in Atmos where I have a starting template. But outside of that, I just set up each project basically from scratch with whatever plugins I feel will be best for that style of music.
I make editing decisions based on my instincts for what will work musically and conceptually. I don’t force it. If I feel like the song will benefit by adding a new musical part or flying something around or taking out a section, and I feel like the artist is receptive to ideas, I just try it and show it to them with and without the edits and let the artist make the final call.