Mark Spike Stent went from being a tea boy to a mixing engineer for Björk, Depeche Mode, Echo & the Bunnymen, Massive Attack, and other great artists.
Spike Stent’s mixing techniques are characterised by a blend of traditional analogue warmth and modern digital precision. During the transition period, he didn’t discriminate against either of the technologies, incorporating both analogue hardware and digital plugins.
This approach allows him to achieve the rich, full-bodied sound that analogue equipment provides while benefiting from the flexibility and convenience of digital tools.
One of Spike’s signature techniques is his use of parallel compression. He confessed he didn’t like gentle compression which I found interesting considering his professional experience. By compressing a duplicate of the track and blending it with the uncompressed original, he adds depth and punch to the mix without sacrificing dynamic range. In his interview with Dave and Herb, he said: “I’ll have 3 different types of compressors, for example, Compex, send all the drums there, EQ and mix them all in underneath the [dry] drums… they would jump up when the chorus comes…”
Automation is a crucial aspect of Spike Stent’s mixing process. He uses automation to enhance the dynamics and emotional impact of the mix. This can include automating volume levels, panning, effects sends, and even plugin parameters.
Spike also places a strong emphasis on the overall vibe and energy of the mix. He often focuses on the groove and rhythm, ensuring that the mix feels cohesive and compelling from start to finish. This approach is particularly evident in his work with bands like U2 and Coldplay, where the interplay between instruments and vocals creates a dynamic and immersive listening experience.
As he worked with many different genres, he doesn’t have a signature sound. Spike Stent’s workflow begins with a critical initial listening session. He starts by thoroughly listening to the rough mix provided by the artist or producer. This step is not just about hearing the music but understanding its core elements, emotional tone, and the artist’s vision. Spike makes detailed notes on what he perceives as the strengths and weaknesses of the track, identifying areas that may need enhancement or adjustment.
Overall, the techniques he uses are mostly standard: gain staging, colour-coding, reverbs, EQing as a way to ensure instruments don’t compete for the same frequency range, and critical listening, on different playback systems to ensure the mix sounds balanced in different environments. What makes him stand out is probably his experience and the sharp ear which helps him identify problematic areas, which was prominent in his guest lecture at the University of West London, where he improved students’ mixes in a few minutes.
For my future work, incorporating Spike’s techniques such as parallel compression and precise EQ sculpting can significantly enhance the clarity and impact of my mixes.
References:
BAREFOOT SOUND. “Mark Spike Stent – Masters of the Craft.” YouTube, 11 Sept. 2018, www.youtube.com/watch?v=DJwdP-TvYBU.
London College of Music. “Mark “Spike” Stent at the University of West London | London College of Music.” YouTube, 24 Feb. 2020, youtu.be/ZfPaepcRsyY?si=Aw27Jv87uk7YXaGa.
Pensado’s Place. “Mark “Spike” Stent – Pensado’s Place #250.” YouTube, 18 Feb. 2016, www.youtube.com/watch?v=D5_uQJn2JFA.
Tingen, Paul. “Spike Stent.” Www.soundonsound.com, Jan. 1999, www.soundonsound.com/people/spike-stent.