After mixing over 400 records on large format consoles, Grammy® Award-winning engineer Todd Whitelock switched to analog summing and discovered his ultimate mixing voice and sound. With a shorter signal path, a wider dynamic range and more transparency than he had ever gotten on a standard console, Whitelock knows that by using stem mixing and analog summing he can bring recorded music to the listener as the artists intend like never before. On Cécile McLorin Salvant’s GRAMMY Award-winning Best Jazz Vocal Album, “For One To Love,” Whitelock mixed the tracks with the Dangerous 2-BUS+ summing amp at Flux Studios in New York.
“Getting into the summing world was new to me after working with many large format desks and mixing over 400 records, but summing opened my ears to a much clearer, cleaner and more transparent signal path than I had on those large format desks. There’s nuance, space, and the ambience and acoustics all come through better when I mix on the 2-BUS+ than on a large format console,” says Whitelock.
Todd Whitelock has engineered albums for many of today’s most exciting artists including Josh Groban, Idina Menzel, Harry Connick Jr., Yo Yo Ma, Kronos Qt., Chick Corea, Wynton Marsalis. and the Jazz at Lincoln Center Orchestra to name just a very select few. His work has been awarded six Grammy awards over a twenty five year career, the most recent being “For One to Love” by Cécile McLorin Salvant which garnered the prestigious “Best Jazz Vocal Album” for 2016 and his recording of Christian McBride’s Trio “Live At The Village Vanguard” captured a Grammy winning performance by Christian for Best Improvised Jazz Solo, the first for a Double Bassist. Besides album work Todd has engineered numerous Broadway Cast Recordings, Film Scores and Feature Music such as last year’s Coen Bros. movie “Hail Caeser!” as well as the theme music to The Late Show with Stephen Colbert by Jon Batiste. Browse other music projects and artists Todd Whitelock has worked with: http://www.allmusic.com/artist/todd-w…