George: A mix is never done. If I could, I'd remix everything I ever did. When I'm working with other cats, I listen through their ears. I know when it's done by the response from my pals, and from the artist, and from the label guys. (They're not all bad, after all.)

alphajerk: Has instant recall of mixes changed the way you mix at all from the standpoint of being able to move on to something else and come back to it exactly as it was?

George: IMNSHO, the ability to recall a mix is undoubtedly the great contribution of digital consoles. Not the sound. I mean, it puts us in a league with, I dunno, ARTISTS, PAINTERS. You know, you can come back to where you left off, you don't have to start from memory, or from scratch each and every time. I think mixes are getting better because of recall and automation. Of course, some mixes are still TERRIBLE. (mine).

jjd: Exciting performances at 16 bits are still better than flat ones at 24. What do you, as a producer, do to ensure an exciting performance doesn't get held back by splitting hairs with technology? How do you know when to step in as producer and step away as engineer?

George: Exciting, thrilling performances on 78 or cassette are better than a turd at 96/24. Look, here's the secret: Work your ass off to make as good a path as you can. Steal. Kill. Borrow. Lie. Work around the clock for as many years as it takes to get the gear right.

Then, go into the studio and forget everything. Plug it in wrong, turn the wrong know, be proud to fuck up. And only do one thing… listen from your hear. In the moment, every moment, listening is absolutely, positively, without a shadow of a double, the hardest thing we can be called on to do. It is absolutely the most exhausting, depleting, painful exercise.

And I mean listen in every way, to every nuance, and them zoom back to listen to the entire presentation, every note, every beat. But I get carried away.

Fletcher: I can't find the actual question, but someone asked how you split your time between "music" and "R&D"?

George: I split my time three ways. I produce music, I engineer music and I design equipment. I mean, GENERALLY. Now in addition to those three things, I fill some other pretty demanding roles. I teach a full-credit course in Music Technology at McGill, I participate in the academic life of McGill. We’re trying to build a new music building and library.

Also, I stay in touch with guys on their PhD tracks. I’m also trying to do some science. Jeez, I don’t know HOW I split my time, or if I do it well. I just know that there are all of these things that I want to do, and there isn’t enough hours in a day anymore.

Fletcher: Not bad for a "college drop-out"... BTW, I know where I was 361 days ago... This next one is a pretty interesting question.

Tony Mah: George, how do you balance work and family? It seems like people at the top in the music biz work very long hours and put their careers above family, resulting in a lot of broken relationships and divorce.

George: Well, shake hands with a two-time loser. Earth Wind and Fire ate the first marriage. I mean, five years away from home - what was I thinking? My son is a big priority in my life. And, as he is not 14 years old, and a huge pain in the ass, your question has particular relevance.

You only get so many minutes in a life, and, as the saying goes, on one's deathbed, you're less likely to hear "I wish I'd spent more time at the office”. Or behind the old console. I think I’ve got to remember that I’m living for my family and my friends. A few of which are with us tonight. But hey, I’m gonna cry…

mpr: Do you take steps to protect your ears?

George: Don't listen at "stun" for long periods of time.

Fletcher: Warning - another "Rail" question!

Rail: So George (yeah me again), what was your take on Apple buying Emagic ? How does it bode for the other players?

George: I’m outta here… Hey, good question! I'm thinking that Apple is going to do for DAW's what it did for videos (with Final Cut Pro). They’re going to give prosumers - doctors, lawyers and other pant-load professionals (forgive me for saying that!) - a decent DAW that doesn’t cost like PTHD. I think it's going to have to be down-market, and, like Final Cut, there are going to be some reasons to stick to full Avid. For Digi, there's going to continue to be a market for a really pro product for those that want to spend the bucks. (For related PSW coverage on the Apple-Emagic marriage, click here.

Harvey Gerst: Who are the people that you admire in the industry and inspire you to try harder?

George: These days I’m admiring mathematicians. Paul Erdos, Andrew Wiles (the guy who did Fermat's last theorem). The kids inspire me. I worked with a guy today, Bobby Terry, who played every instrument on this track for Kristen Garner. He did the last Anthony Davis record, and he's really good.

In fact, he might be the future of our business. He can play every instrument well. I do not mean virtuoso, but just well, and he knows what to play, and when he should get a pro in.

Naturally, he knows studio...geeks his own ProTools, makes his own samples (with Gigasampler ). His sampled drum tracks fooled me. I thought that today's track was Paul Leim. Jeez, now that I think about it, there is a hoard of people I respect and love... Give me a few minutes.

Mike Martin: Do you find mixing in surround more difficult or easier?

George: I find it 10,000,000x more fun, especially because the A&R geeks haven't been told what they should think about multi-channel yet, so they pretty much leave me alone to mix. What a fucking joy it is! Forget difficult or easy as a measuring stick for anything - if I could find more difficult jobs for me or my second engineers, I'm there in a heartbeat.
I LIVE for difficult.