Recording - October 2014 - 16

weren't going to go down that path. Everyone's got these
albums, and we thought. "We're going to just do it the right
way, and make it sound as if it had just been recorded."

It works well, whatever it is; I didn't listen to "Gallows
Pole" and think, "Oh, that's different from the original", it
just sounded better, but not altered.

So you treated it the same as you did with the EQ and took
things on a section-by-section or note-by-note basis?
Sometimes things were lost and Jimmy was trying to get a particular guitar line out. If there was something that would help a
wee bit, if only for a five second section, yeah, but any digital limiting was kept to a minimum.
I worked on the last U2 album, No Line On The Horizon, and
The Edge wanted people to want to turn it up, as opposed to
want to turn it down, and that always stuck with me.

Everything I have heard so far has an incredible clarity. On
the first album you can hear the tape saturation and distortion that's clearly on the original reels and is part of the
sound of the album, but on vinyl probably would have been
masked. Speaking of the first album, was that one easier to
work on, since everything was recorded in one place in a
relatively short time, compared to, say, the second album,
which was done all over America and back?
I think Two was done much quicker and he [Jimmy] was trying to mix it while he was on tour. It didn't really apply to me
because I started breaking albums down into songs and it was
only later, when I put everything together to send to the record
label, that it occurred to me that I've got three albums here!

That's a great sounding record, too! You mention trying to
get a guitar line to stand out; do you have any other examples of things Jimmy kind of wanted goosed or changed?

[For Jimmy] this stuff was still living and breathing, the things
that were niggling him had been niggling him for 40 years.
"Gallows Pole" was one where he was never happy with the
recording. Obviously we had only had the 2-track to go with,
and we did a lot of things with stereo width on that. I ended up
making that 40% wider than it was, and it seemed to give it a
little more room to hear the detail between tracks.
Is that a Mid-Side process, or a plug-in, or something different?
It's a Maselec MTC-2 (maselec.com), and Leif Mases of Maselec
built it into the desk. I use it all the time. It pays my mortgage!
[laughs] I can't really explain it, but it's not a Mid-Side thing.
16

RECORDING October 2014

I was trying to make it all consistent. The albums all have to be
played with each other, so they'd all work together.
How long did it take to do a song on average?
Some of the tracks took ten minutes to do and other tracks took
a day, because of problems like dropouts, little continuity things,
stereo width and stuff... and sometimes I'm thinking, "It sounds a
bit mono, I could make it a bit wider, and would Jimmy care?"
We made sure we QCed every second of all of the discs. We
didn't want people to come back and say, "Oh, you missed out
on this." Jimmy was checking everything with the original pressings, just to make sure.


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Recording - October 2014

Table of Contents for the Digital Edition of Recording - October 2014

Contents
Recording - October 2014 - Intro
Recording - October 2014 - Cover1
Recording - October 2014 - Cover2
Recording - October 2014 - 1
Recording - October 2014 - 2
Recording - October 2014 - 3
Recording - October 2014 - 4
Recording - October 2014 - 5
Recording - October 2014 - Contents
Recording - October 2014 - 7
Recording - October 2014 - 8
Recording - October 2014 - 9
Recording - October 2014 - 10
Recording - October 2014 - 11
Recording - October 2014 - 12
Recording - October 2014 - 13
Recording - October 2014 - 14
Recording - October 2014 - 15
Recording - October 2014 - 16
Recording - October 2014 - 17
Recording - October 2014 - 18
Recording - October 2014 - 19
Recording - October 2014 - 20
Recording - October 2014 - 21
Recording - October 2014 - 22
Recording - October 2014 - 23
Recording - October 2014 - 24
Recording - October 2014 - 25
Recording - October 2014 - 26
Recording - October 2014 - 27
Recording - October 2014 - 28
Recording - October 2014 - 29
Recording - October 2014 - 30
Recording - October 2014 - 31
Recording - October 2014 - 32
Recording - October 2014 - 33
Recording - October 2014 - 34
Recording - October 2014 - 35
Recording - October 2014 - 36
Recording - October 2014 - 37
Recording - October 2014 - 38
Recording - October 2014 - 39
Recording - October 2014 - 40
Recording - October 2014 - 41
Recording - October 2014 - 42
Recording - October 2014 - 43
Recording - October 2014 - 44
Recording - October 2014 - 45
Recording - October 2014 - 46
Recording - October 2014 - 47
Recording - October 2014 - 48
Recording - October 2014 - 49
Recording - October 2014 - 50
Recording - October 2014 - 51
Recording - October 2014 - 52
Recording - October 2014 - 53
Recording - October 2014 - 54
Recording - October 2014 - 55
Recording - October 2014 - 56
Recording - October 2014 - 57
Recording - October 2014 - 58
Recording - October 2014 - 59
Recording - October 2014 - 60
Recording - October 2014 - 61
Recording - October 2014 - 62
Recording - October 2014 - 63
Recording - October 2014 - 64
Recording - October 2014 - 65
Recording - October 2014 - 66
Recording - October 2014 - 67
Recording - October 2014 - 68
Recording - October 2014 - 69
Recording - October 2014 - 70
Recording - October 2014 - 71
Recording - October 2014 - 72
Recording - October 2014 - 73
Recording - October 2014 - 74
Recording - October 2014 - 75
Recording - October 2014 - 76
Recording - October 2014 - 77
Recording - October 2014 - 78
Recording - October 2014 - 79
Recording - October 2014 - 80
Recording - October 2014 - Cover3
Recording - October 2014 - Cover4
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