I think that's becoming the norm. Not to mention a runner to get food, a receptionist to answer the phone… Nowadays, it's not uncommon for one person to do three jobs: producer, engineer and Pro Tools operator. Fat and warm?
They don't go in with the fear that maybe they'll be replaced. Today, a guy goes to Guitar Center, buys a Pro Tools rig, sets it up in his room and gets his buddies over to record. They're also the funnel for ideas, taking the pressure off individual bandmembers. Ultimately, do you want sounds that will reproduce well on MP3 files, computer speakers and compressed car radios? So while the actual sound wasn't as good, it won and we were into the digital age. I think that's becoming the norm.
The CD had so many plusses: no noise, no intergroove distortion, the ability to play it in the car and it was close to indestructible, just to name a few. He was a former Wehrmacht soldier. It's like putting salt on everything you eat so you don't know what's salty. Click here for interview excerpts and feature outtakes. In our rapidly changing times, the question these unique individuals face is whether the craft of engineering will endure or become a lost art. For me, the quest is, what can we do on every level to continue to make it better?
What remains of that past in our stories today? All I'm concerned about is how to keep from dropping the ball at my end and to satisfy the people I'm working for at the moment. Meanwhile, back then, the early digital proponents were calling those of us who liked analog crazy.
Then, when Pro Tools came out, it still wasn't as good as analog, but its flexibility as a production tool was through the roof. A true producer takes the band to the next level.
For me, the quest is, what can we do on every level to continue to make it better? How has that changed the record-making process? That often means eking out every conceivable bit of fidelity during the recording process, from well-maintained microphones and hi-fi cabling to high-res digital formats and properly biased analog tape machines. Here, several of our most respected engineers discuss how their work is evolving and how they uphold their standards in our brave new sonic world. Think about what that meant for the skill and creativity of everybody involved. I tell them to take it home and practice.
They have to at least try! I'm listening to instructions and running up and down the stairs a few times an hour.
We have a medium — the CD — with unbelievable dynamic range, and we only use the top three to five percent of it. Frank Sinatra went out there with the orchestra, counted the song off and they made a take. The downsizing of major facilities and growth of producer-owned private studios has splintered the recording community at large, leading to the loss of interaction with mentors and experienced pros. You can give somebody six tracks for a solo and that can be a very freeing, experimental thing for them.
That's a sad state of affairs. I'm listening to instructions and running up and down the stairs a few times an hour. The band makes all the artistic decisions; I basically just execute them on a technical level. I was exposed to all those ideas and techniques, and they helped form my style of production. Gritty and powerful? Meanwhile, back then, the early digital proponents were calling those of us who liked analog crazy.
He was a former Wehrmacht soldier.
Any engineer wants to get the best possible sound for any given project.
Edurne Rubio punctuates this soundscape with memories of the speleologists and revolutionary songs that denounce Franco's dictatorship.