Chris Lord Alge is a five time Grammy Award winning producer/engineer/mixer who’s name started to appear on hugely successful albums in the mid 1980’s by artists such as Stevie Nicks, Carly Simon, Steve Winwood, Jeff Beck and James Brown, and has been the go to mix engineer for most of the 1990’s onwards. (A great interview of his mixing style here)
Chris has worked with some of the biggest names in the business such as Tina Turner, Chaka Khan, Joe Cocker, Pat Benatar, Hall & Oates, The Cars, U2, Savage Garden, Jude Cole, Sade, Tina Arena, Michael Buble and Madonna to name but a few. Perhaps his greatest partnership has been with Green Day where his mixes are so clean and dynamic.
Until a few years ago Chris Lord Alge mixed in a rather unconventional way by refusing to move to either in the box mixing, or by mixing from Pro Tools. Instead Chris Lord Alge would transfer every Pro Tools session that came into his studio, over to his Sony PCM-3348 DASH digital multitrack first, and then mi off the Sony through his 60-input 4056 E-series SSL console. There are many people who would argue the merits of such a setup, but the proof is in the pudding as they say and he has mixed so many No.1 hits off that setup.
Several years ago now Chris Lord Alge retired the Sony DASH recorder through 60-input 4056 E-series SSL Console mixing method, in part due to lack of available tape, but more so because of his satisfaction with the sound from his new Focusrite RedNet system.
Chris Lord Alge is famous for his massive collection of outboard analog effects, in particular vintage compressors such as the Urie 1176LN of which he has many. He is almost just as famous for his choice of prime reverb, the Sony DRE-2000. Along with his brother, they are the only big name mix engineers still using the old Sony DRE-2000. Along with the Sony however are a few other choice digital effects.
“As far as outboard effects are concerned, the drums were mostly treated with a Urei 1178 at 4:1 and a Neve 33264 at 2:1, all slow attack and quick release stuff with 4-5dB movement. The reverb was the Sony DRE-2000, set to one second in length, just a short room. In terms of EQ, I tend to suck out the mid from kick drums, add top to snares, and make sure that the cymbals are not coming from everywhere.”