EQ Magazine - March 2008 - (Page 29)

sources, and from different times. How do you feel about the changes that have occurred in the recording process since you worked with Drake? Wood: The decision-making process has been compromised. Up until the advent of 24 tracks, you had to make decisions as you recorded. You couldn’t say, “Oh, we’ll do another one of those. We’ll dump it on another track in Pro Tools.” You had to get on and go with what you recorded, and just build an album from there. I think this is one of the reasons that, for me, Nick’s records have massive vitality. Having everybody record at separate times takes a lot of the life out of a recording. There is no longer the sense of performance in albums that there once was. If you have to start resorting to picking apart things with a computer, then I think you need to ask yourself where your music has gone. People spend most of their time trying to control the environment they are recording in, making decisions that really do not have a lot to do with the music itself. I still believe that performance and material are what matters. In the end, you get the sound you deserve. Joe, how do you feel about the evolution of the DAW? Boyd: I hate it. It is understandable that musicians take advantage of the possibility to make something perfect. But, cumulatively, these little decisions make for a lifeless record, in my opinion. There is something empowering about working with four, eight, and 16 tracks that is absent in 128. Limited tracks force you to make decisions. The limitations allow the magic to happen. I’ve never recorded directly onto 1s and 0s. I’ve obviously mixed onto 1s and 0s, but unless there is something analog in the chain to warm the sound up, I just can’t do it. In the digital world, everything is measurable to the minute detail—everything is transparent, and everything is in position, but nothing ever actually mixes together. What are you most pleased about by your work with Drake? Wood: One of my best experiences working with Nick was during Pink Moon, for no other reason than we just went and did it. Nick literally ran up out of the blue and said, “Let’s make another album.” Back then, record companies were much more driven by the artist and the product, rather than marketing. Artists had so much more freedom. You didn’t submit any demos to the record company, and you didn’t argue about any budgets—you just got on with it. I can’t remember telling the record company we were going to do Pink Moon. We just went and did it. I’m proud of that. Other than that, I suppose I would have been quite supportive as we recorded it, because Nick was very fragile at the time. The only artistic change I noted was that Nick became more belligerent in a way [laughs]. He really was going to make the record exactly the way he wanted it. He still had a lot of confidence in his playing during Pink Moon. There’s nothing like a Neumann Unity: and the KMS 104 The KMS 104. Too polite for a real rock stage? We think not. Just ask 311. With a heavy gauge grill, a moisture barrier popscreen and feedback protection ﬁlters, the Neumann KMS 104 isn’t just any condenser mic – it’s made to withstand the realities of tour. 311 sings, raps, and belts out their signature blend of rock, rap, and reggae with the KMS 104. For raw power and aggression balanced with subtlety and true artistry, there’s nothing like a Neumann. Available in satin nickel or matte black ﬁnish. KK 104 capsule head for exclusive use with Sennheiser wireless. www.neumannusa.com www.eqmag.com MARCH 2008 EQ 29 http://www.neumannusa.com http://www.neumannusa.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - March 2008

EQ Magazine - March 2008 Contents Talk Box Sounding Board Punch In Tool Box Dream Theater Nick Drake LO-FI Recording Tricks Guitar Trax Bass Managment Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Tascam Gigastudio 4 Cakewalk Sonar 7 Crane Song Avocet Cad Signature Series Mic Packs Waves GTR3 Kjaerhus MPL-1 Pro SE Ableton Live 7 Centrance Micport Pro, Tapco LINK.midi 4x4, Multi-Gigabyte USB 2.0 Memory Sticks Digital Redux Electrotech, Nine Volt Audio Action Drums, Big Fish Audio Hadeeth 2 Room with a VU

EQ Magazine - March 2008

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