This unit wasn’t introduced until very late in the decade however, and most of the classic recordings of the 1960s would have gone through the REDD consoles which were valve-based. The transistor-based EMI TG12345 plugin is an all-encompassing channel strip, accurately recreating this famous Abbey Road console. Similarly, the sound of the recording and mixing consoles of the time were vital. You may not even hear much of a difference on individual tracks, but cumulatively, the results add a touch of magic. You don’t need to hear outlandish distortion from the tape. Something like the J37 or Kramer Master Tape used delicately can really help. You could try doing this on the individual elements before you bounce down, and if you’ve narrowed the track count it will be easier on your CPU for the final mix. When mixing with an eye towards a vintage ‘60s sound, placing a tape plugin on every track can smoothen things, and subtly make the recordings a bit warmer and more ‘listenable’. Plate A and Plate D are nice and rich for snare reverb I was amazed to hear the separate multitrack elements on Jimi Hendrix’s Purple Haze the drums were on one mono track (having probably been recorded with about 5 microphones) including some plate reverb on the snare mixed in for good measure! Abbey Road Reverb Plates is the obvious choice to recreate that effect. I love the satisfaction of looking at the session, for example, and seeing only 16 tracks to mix. You could even apply this same approach to drums or other groups of instruments. Or, if you’re feeling really brave and going for an early ‘60s sound, bounce them to mono. If you’ve got, say, 8 tracks of backing vocals, try balancing them up and committing them to a stereo track before you move on to the “actual” mix stage. As well as the sonic differences that occur with multiple tape generations, degradation of high-end and so-on, there is a lot to be said for the psychology of making decisions earlier in the process, and whittling down the track numbers. The Beatles’ recordings used these techniques, and in EMI’s archives there still exist ‘slave’ reels of recordings that were collected after their contents were consolidated onto one track of new tape, in order to allow further overdubs to take place. In the 1960s, track counts were strictly limited by the technology of the tape machines available, but could be increased by combining or ‘bouncing’ multiple instruments together onto one track, thereby leaving tape room for other parts.
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