![]() ![]() “I came up at Sony Music Studios in New York where I was working on SSL and Neve desks, which are great. For the rest it’s keyboard and mouse, and that works for me.” I also have the eight-fader Avid Artist Mix, and I use it a lot. My monitors are ProAc Studio 100s, Yamaha NS10s, Auratones, and I just got the Avantone CLA-10s. I’ve also got the Dangerous Music Convert-AD+, but I didn’t get that until after I finished Billie’s album. I also have the Dangerous Music 2-Bus, Dangerous Music Compressor and Dangerous Music Monitor-ST monitor controller. ![]() #WAVES PUIGCHILD 670 TORRENT PRO#“I run Pro Tools HD native, with an Avid I/O 16×16. The place where Kinelski takes things to the next level is his home studio in Los Angeles, which is a typical in-the-box facility apart from his extensive collection of Dangerous Music gear. ![]() They know exactly what they want, and I just try to take it to the next level.” LEVELING UP I made the kick mono because I thought it sounded cool, but then a little later they said, ‘you know what? Let’s put it back to where it was.’ And that was the right call. There’s a song on the album called ‘8,’ and it has an off-centre kick drum. I know that they want the low-end to be massive without overwhelming everything else, and they want the vocals to be super-present. We discussed their musical concept somewhat, but other than that it was simply a matter of me knowing what I’m going to get from them, and them knowing what they’re going to get from me. Just before we did the EP (Don’t Smile At Me, 2017), they invited me over because they wanted to get to know me. ![]() They asked me to mix their next song, and they’ve kept calling ever since. The first song I mixed for them was ‘Bellyache,’ as a try-out, and they loved it. They wanted someone who was really good with the low end, and had an urban background. Finneas and Billie asked John to recommend a mixing engineer, and he recommended me. “I’d mixed an album for a singer called LP, which John mastered. Kinelski explains how he got involved and describes the production process… Although everything comes across as very understated and minimalist, there’s actually a lot going on. The young duo does not work entirely in isolation, however they’re aided by mixing engineer Rob Kinelski and mastering engineer John Greenham. The spaces that O’Connell regularly leaves in the production are so daring as to be almost mind-blowing – there are often gaps of two or three seconds with nothing at all. Most of all, there’s the striking production of her songs, courtesy of her older brother and co-writer Finneas O’Connell. a match lighting, a door squeaking), and she sings so softly that she almost whispers. What makes Eilish exceptional is that her music sounds so different to everything else it’s bass-heavy, with very little high-end and relatively little in the mid-range, virtually no reverb, lots of weird and wonderful incidental sounds (e.g. ‘Bad Guy’ was an even bigger hit than ‘Bury A Friend’, and her debut album, ‘When We All Fall Asleep, Where Do We Go?’, reached number one in 20 countries.Īn artist breaking through like this is not unusual. Her first major worldwide hit, ‘Bury A Friend’, was released in January 2019, and since then the world has gone bonkers over the young singer. More single releases followed but few made any significant inroads, although ‘Lovely’, a collaboration with Khalid, made it to number five in Australia and number four in New Zealand. Billie Eilish started 2019 as one of several young artists operating just below the radar, having enjoyed initial success with her debut single ‘Ocean Eyes’ in early 2016. ![]()
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