EQ Magazine - April 2009 - (Page 13) Paul Ericksen in Peter Wolf’s Malibu recording studio. MR. BONZAI problem!’ Everything he composed and recorded was originally improvised. Then he would transcribe his improvisations, and record them again with all the instruments. After finishing a tune with all the overdubs and production, you could go back to the original demo, and the phrasing would be identical in both versions. He was amazing. Who are your engineer heroes? When I was starting out, I really looked up to Bill Bottrell at Soundcastle. My other engineer heroes are Tom Dowd, Bruce Swedien, George Massenberg, Bill Schnee, Alan Parsons, Geoff Emerick, Bob Clearmountain, Tom Lord Alge, Michael Brauer, Tchad Blake, and Steve Albini. What are your favorite new recording tools? We recently started using an awesome new mic preamp built by Carl Johnson of CRS Industries in Ventura, California. It’s called a DM 2412, and it’s incredibly transparent and quiet with a detail I have never heard before. I can’t wait to try it on everything we record. Also, Spectrasonics’ Omnisphere synth plug-in is really cool. The textures and rhythm patterns are really useful. Do you have a favorite vocal mic? The Telefunken ELA-M 250 and AKG C 12. How do you record Peter Wolf’s Boesendorfer Imperiale? With two AKG C 12s through the new DM 2412 mic preamp. We used to use Neve 1073 mic preamps, which we liked, but this new sound is better. When you are recording music for film—especially overseas—how do you deliver the material? Lately, we have switched to yousendit.com, which is great. It’s fast and cheap compared to using ISDN. Sometimes, we use FTP or SFTP sites, which also work okay. What makes a great producer? Great musicians. www.eqmag.com APRIL 2009 EQ 13 http://www.yousendit.com http://www.eqmag.com
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