Recording - January 2017 - 13

But when it came time to record the Chrysalis album they hired Mike Clink
instead of hiring me to come to LA, and I realized that if I wanted a career in
recording I would have to go to LA. It was a few years before I got a foothold, but I
finally got a gig at Larrabee, where I learned from Alan Meyerson and Michael
Brauer and the Lord-Alges. I also got connected with Prince there and worked with
him for about three years. I also met Rick Rubin at that time at Larrabee, and continued working with him on and off for about seven years. Eventually I left Larrabee
because I got a gig working with Green Jellö (now Green Jellÿ) and Tool.
Looking at your discography, I notice that you seem equally happy to work as an engineer with folks like Rick Rubin as well as stepping into the producer role. Do you find
it hard to change hats, or do you just kind of approach everything the same way?
When I started I started as a producer, I didn't really know that what I was doing was
producing. I was engineering, but I was also directing people on their sessions, helping
them make choices about arrangement, helping correct their mistakes with tuning, and giving them ideas. Then, when I moved to LA, I had to start over as a runner and an assistant
because there was a great deal of equipment that I was not familiar with. I had to become
familiar with the equipment before I could take on sessions and begin producing again.
Now it depends on who I'm working with and where I will be helpful. A lot of
musicians today really know what they want and are well prepared. Then my role is
to be their cheerleader and give them the best environment for their performances.
For instance, suggesting "let's record in a castle", "let's record in a submarine." To
make suggestions, guide them and help them make their own good decisions.
Almost always I'll have my hands on the equipment in some way. I love working
with an engineer, but it's not always necessary. When I have an engineer I can step
back and look at the entire picture of where we're going with the music a lot easier.
Wait... have you actually recorded on a submarine?
There was a session in Norway last year recording the band One Hundred And
First. My engineer Per Kristian Sundet was a submariner and had friends in the
Norwegian Navy that work on active submarines, and the idea was "Hey, why can't
we record on the submarine?" We decided we were going to record bass and some
vocals on the submarine.
Unfortunately for me, I'm not a Norwegian citizen so I could not go on the submarine, and I had to let them go and do it on their own [laughs]. Per and the gang
went on the submarine and actually put a bass amp in a torpedo tube and recorded it with a [Shure] SM7 microphone, and they recorded a lot of vocals there, too.
Today, if you have a laptop and a [Universal Audio] Apollo Twin or some other
kind of interface, you can pretty much record anywhere. I'm super excited about
that prospect. I mean, the sky's the... not even the sky's the limit, beyond the sky!
I'm thinking about doing a crowd-funding campaign and being the first producer
to bring a band into the International Space Station to do some recording. Can you
imagine playing a piano without gravity? There would be no weight to bring the
key back up, the hammer back down... These things are questions that I have running through my head all the time, and I might be a little insane about it. [laughs]
Like I say, recording should be an adventure, so let's go all the way with it!
I went through a long period of time of feeling insecure about my space, because
while I have a nice treated mixing room, my tracking room is a makeshift gallery
space inside a pole barn out in the country. When it rains heavily you hear it on
the roof, you can hear tractors drive by in harvest season, and kids on ATVs from
time to time, but it's spacious and located in visually-inspiring wooded countryside. But since this is the era of "perfect rooms", and I don't even have a glass
window between me and the talent... I found your "anywhere could be a studio"
philosophy very encouraging.
RECORDING JANUARY 2017

13



Table of Contents for the Digital Edition of Recording - January 2017

Contents
Recording - January 2017 - Intro
Recording - January 2017 - Cover1
Recording - January 2017 - Cover2
Recording - January 2017 - 1
Recording - January 2017 - 2
Recording - January 2017 - 3
Recording - January 2017 - 4
Recording - January 2017 - 5
Recording - January 2017 - Contents
Recording - January 2017 - 7
Recording - January 2017 - 8
Recording - January 2017 - 9
Recording - January 2017 - 10
Recording - January 2017 - 11
Recording - January 2017 - 12
Recording - January 2017 - 13
Recording - January 2017 - 14
Recording - January 2017 - 15
Recording - January 2017 - 16
Recording - January 2017 - 17
Recording - January 2017 - 18
Recording - January 2017 - 19
Recording - January 2017 - 20
Recording - January 2017 - 21
Recording - January 2017 - 22
Recording - January 2017 - 23
Recording - January 2017 - 24
Recording - January 2017 - 25
Recording - January 2017 - 26
Recording - January 2017 - 27
Recording - January 2017 - 28
Recording - January 2017 - 29
Recording - January 2017 - 30
Recording - January 2017 - 31
Recording - January 2017 - 32
Recording - January 2017 - 33
Recording - January 2017 - 34
Recording - January 2017 - 35
Recording - January 2017 - 36
Recording - January 2017 - 37
Recording - January 2017 - 38
Recording - January 2017 - 39
Recording - January 2017 - 40
Recording - January 2017 - 41
Recording - January 2017 - 42
Recording - January 2017 - 43
Recording - January 2017 - 44
Recording - January 2017 - 45
Recording - January 2017 - 46
Recording - January 2017 - 47
Recording - January 2017 - 48
Recording - January 2017 - 49
Recording - January 2017 - 50
Recording - January 2017 - 51
Recording - January 2017 - 52
Recording - January 2017 - 53
Recording - January 2017 - 54
Recording - January 2017 - 55
Recording - January 2017 - 56
Recording - January 2017 - 57
Recording - January 2017 - 58
Recording - January 2017 - 59
Recording - January 2017 - 60
Recording - January 2017 - 61
Recording - January 2017 - 62
Recording - January 2017 - 63
Recording - January 2017 - 64
Recording - January 2017 - 65
Recording - January 2017 - 66
Recording - January 2017 - 67
Recording - January 2017 - 68
Recording - January 2017 - 69
Recording - January 2017 - 70
Recording - January 2017 - 71
Recording - January 2017 - 72
Recording - January 2017 - Cover3
Recording - January 2017 - Cover4
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