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这段话很受用：
“混音无非就是让声部之间的关系明确。我们做了大量实验，很好玩。例如给 Master 加了一对儿老式晶体管均衡器，然后再接个 Avalon EQ 让声音听起来更干净，最后再加一个总线压缩，大多数情况下是 Neve 33609，我们尽量选用不同的硬件去完成不同的歌。有时候接一台设备却不做任何操作，只是为了得到它变压器或是放大器的染色。”
“压缩器我们挑选了很久，像 1176、 LA2A 和 Neve 33609，进行同一型号的比较（不同年份与批次的声音不同）。Daft Punk 还带来了老款但“打磨”过的 33609，听起来确实不一样，他们砸了很多钱，把这压缩器买了，没人不爱这玩意儿啊！这就是玩模拟设备乐趣——每一台设备都听起来稍有不同。”
“混音无非就是让声部之间的关系明确。我们做了大量实验，很好玩。例如给 Master 加了一对儿老式晶体管均衡器，然后再接个 Avalon EQ 让声音听起来更干净，最后再加一个总线压缩，大多数情况下是 Neve 33609，我们尽量选用不同的硬件去完成不同的歌。有时候接一台设备却不做任何操作，只是为了得到它变压器或是放大器的染色。”
“压缩器我们挑选了很久，像 1176、 LA2A 和 Neve 33609，进行同一型号的比较（不同年份与批次的声音不同）。Daft Punk 还带来了老款但“打磨”过的 33609，听起来确实不一样，他们砸了很多钱，把这压缩器买了，没人不爱这玩意儿啊！这就是玩模拟设备乐趣——每一台设备都听起来稍有不同。”
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没翻译原文附录啊
Mick Guzauski lives 40 miles north of New York City, where he works in a private studio called Barking Doctor Recording, featuring two control rooms, one with a Sony Oxford console ("currently covered in blankets and a bunch of Euphonix controllers”), and the other with a Yamaha DM2000 desk. He has a Pro Tools HDX system and although he has some quality outboard by the likes of Eventide, GML, AMS and EMT, the vast majority of his work is done 'in the box'. Will his experiences of the Random Access Memories project prompt him to return to a more analogue way of working?
"I can't really go that route, because my consoles are digital. Stuff in the box is sounding so good now, but most of all it's about the workflow. Budgets are quite small and everybody wants changes all the time. I may be working on three or four different songs on the same day, so instant recall is essential. Also, now that Pro Tools is 32-bit floating-point, and some plug-ins also are 32-floating point, there no longer is that headroom bottleneck as the tracks get fuller and louder. Pro Tools is starting to sound really good now, as do the UAD plug-ins. But I still use outboard reverb, because I still haven't found a good substitute for the Eventide 2016 or the AMS RMX16. And of course, I prefer to do sessions in the way we did them with Daft Punk, if the budgets allow it.”
要点摘录：
1. Mick Guzauski现在的大部分混音都是in the box
2. 问及会不会延续这张的大模拟混音的路线时，他的回答是：真的不行，我的台子都是数字的。（后面还有成本和时间问题的解释blah blah blah）
3. Pro Tools现在听起来真的很好，UAD的插件也不错
4. 不过我还是用硬混响
5. 我当然更想想跟daft punk那样搞session，如果预算允许
"I can't really go that route, because my consoles are digital. Stuff in the box is sounding so good now, but most of all it's about the workflow. Budgets are quite small and everybody wants changes all the time. I may be working on three or four different songs on the same day, so instant recall is essential. Also, now that Pro Tools is 32-bit floating-point, and some plug-ins also are 32-floating point, there no longer is that headroom bottleneck as the tracks get fuller and louder. Pro Tools is starting to sound really good now, as do the UAD plug-ins. But I still use outboard reverb, because I still haven't found a good substitute for the Eventide 2016 or the AMS RMX16. And of course, I prefer to do sessions in the way we did them with Daft Punk, if the budgets allow it.”
要点摘录：
1. Mick Guzauski现在的大部分混音都是in the box
2. 问及会不会延续这张的大模拟混音的路线时，他的回答是：真的不行，我的台子都是数字的。（后面还有成本和时间问题的解释blah blah blah）
3. Pro Tools现在听起来真的很好，UAD的插件也不错
4. 不过我还是用硬混响
5. 我当然更想想跟daft punk那样搞session，如果预算允许