Post by krawhitham222 on Jun 18, 2014 11:21:47 GMT -5
www.examiner.com/article/producer-warren-huart-the-music-industry-has-never-been-a-meritocracy?cid=rss
Couple excerpts:
Couple excerpts:
Music From Another Dimension was your first time working with Aerosmith. How much homework did you do and what did it consist of?
Jack told me to listen to Rocks. I put the record on, I got through a song and a half, and I called him and said, “Which room did you record this in?” I could hear the room on the first two tracks. He said, “A-ha! That’s why I told you to listen to Rocks. I want us to make an album that sounds like it was recorded in a room. I don’t want to make an album that sounds like a bunch of overdubs in a sterile environment. I want it to feel like a band in a room playing.” I think we did that. Seventy-five percent of the album is like that. It’s room mics going and has an overall feel of openness to it. That was probably a little test from him to make sure I was paying attention, without telling me to listen for that. These days, albums are made increasingly in the box. They’re created on a computer, everything is simulated, and hardly anything is actually realized. The records Jack made, and the songs that he and I worked on on this album, all have the sound of the room. Ninety percent of the tracks were off the floor. They were what the band played. The band was always in the room together recording. There was no put down a click track or a scratch. It was live.
Jack told me to listen to Rocks. I put the record on, I got through a song and a half, and I called him and said, “Which room did you record this in?” I could hear the room on the first two tracks. He said, “A-ha! That’s why I told you to listen to Rocks. I want us to make an album that sounds like it was recorded in a room. I don’t want to make an album that sounds like a bunch of overdubs in a sterile environment. I want it to feel like a band in a room playing.” I think we did that. Seventy-five percent of the album is like that. It’s room mics going and has an overall feel of openness to it. That was probably a little test from him to make sure I was paying attention, without telling me to listen for that. These days, albums are made increasingly in the box. They’re created on a computer, everything is simulated, and hardly anything is actually realized. The records Jack made, and the songs that he and I worked on on this album, all have the sound of the room. Ninety percent of the tracks were off the floor. They were what the band played. The band was always in the room together recording. There was no put down a click track or a scratch. It was live.
On the song “Out Go The Lights,” there’s an instrumental for two or three minutes at the end. We were going to do a guitar solo in the middle of the song. Joe asked me to loop the section so that he could practice a few ideas. I tagged it on the end of the song, recorded some stuff, and they could listen to him trying out some ideas and I’d have it all on one take. I took the middle section, copied and pasted it over there, and he played over it for two to three minutes. Jack and I looked at each other and said, “That solo was awesome.” It was amazing, and that’s what you hear. In one take, the only take, he got the guitar solo at the end of the song. I love knowing that that spirit and energy and way of doing things is on that record, and that people still do that and can do that.