With a focus on matering, producer Jason Deift, who’s handled a wide variety of projects out of his Orange County, CA-based home studio over the last 25 years, recently worked with songstress Abigail Barlow on a select songs from her debut EP “Abigail,” utilizing an RME Fireface UFX+ audio interface in the process.
“I selected the Fireface UFX+ because it’s completely transparent and the converters are top notch,” Deift explains. “It’s pop material and pop is high-fidelity so it make sense to use a modern medium. You don’t want a lot of color on these recordings — what goes in you want to come back out.
“I was excited to start on this project because I could tell from the start that she was the real deal,” Deift, who also builds his own PCs for his mastering work, continues. “One of the reasons I chose RME is because I knew it was rock-solid, and its stability on PCs is fantastic. I run the interface as a thunderbolt setup, and the reliability with RME is unmatched.”
In addition to the Fireface UFX+, he also integrates RME’s TotalMix FX routing and mixing software, which comes with every RME interface, into his workflow. “I use TotalMix every day,” he says. “It’s like a full blown DAW in and of itself. It’s very detailed, so every day I’m working, I’m also routing things into TotalMix. I absolutely love it.”
Deift concludes with an explanation of his workflow: “When I do mastering, I get the track — left and right channel, a 2-track — and I come out of the UFX+ and use a summing box. Out of the D box, I go into a bus compressor and then into a stereo limiter compressor. I then go back into ProTools and print. I use various other tools to sculpt and shape the track, but the D box is a great compliment because the UFX+ has eitht outputs, and it’s going into the D box and those eight outputs are critical because if I didn’t have those, I couldn’t sum.”