blackbox wrote: Does any body know how Jim Scott/Richard Dodd achieved the amazingly gorgeous high end on Tom Petty's Wildflowers record? The entire mix shimmers leading me to think that some sort of eq device was placed on the mix bus. Anybody ever worked with these fellas?

They are very particular. Old Neve's and in your face engineering. I'm a fan/practitioner of that school as well. It isn't about an EQ on the MIX bus persay. It sounds like "that" to a great degree going down.

"Mary Janes Last Dance"...mixed by richard dodd on a soundcraft sans automation. Great sonhs/Great Arranggements/Great parts/...having Rick "reverb is for fags" Rubin pushing people doen that Dry/in -your-face production is a part as well..

I was the house assistant for Jim Scott once, way back in the early 90s. I didn't get to do much (vox OD night) but it was cool to hang out and watch.
I agree that the high end has more to do with good engineering than any magic eq on the mix bus. Why do I think Studer 827 at 30 ips (just a guess)?
"Dream of the Blue Turtles" wan't a shabby record either. David

RecorderMan wrote: "Mary Janes Last Dance"...mixed by richard dodd on a soundcraft sans automation. Great sonhs/Great Arranggements/Great parts/...having Rick "reverb is for fags" Rubin pushing people doen that Dry/in -your-face production is a part as well..

Didn't Brendan O'Brien mix that song?