Each Friday, we’re spotlighting how iZotope was used in recording a new album from one of our favorite artists. This week we spoke with Gabe Wax, producer of the new Soccer Mommy album, Clean (released 3/2 on Fat Possum).
“I used Trash on a few different parts of the record. On a few songs I used the delay in conjunction with the other aspects of the unit (filter, EQ, comp, etc.) to get weird textured and modulated delays. Whenever I use plug-in effects, I pretty much always insert something before or after (or both) to alter it in some way, that way what goes in and out of the effect is changed in a way that’s unique, and I can use things that aren’t contained in the plug-in.
“I love Trash because it offers a lot of that flexibility right from within the plug-in that can be recalled all from one place. Also, there was already a lot of thought put into how the different sections of the plug-in interact with each other, so it feels like rearranging a puzzle—only it’s music, so there are endless possibilities, and you can never be truly wrong.
“I also used it on bass on a few songs; I’m really not a huge fan of plug-in saturation or distortion, it never sounds as musical as I want it to, and it all ends up sounding the same to me. I found the way you can push certain colors in the bass forward to be really pleasing, even when I thought what was happening was subtle, I would A/B it and it actually ended up making a huge difference in the end, especially in the low end.”
—Gabe Wax, Producer, Soccer Mommy, “Clean” (3/2, Fat Possum)