While some members obviously had some experience in recording, it's very probable that they learned their craft in recording via the producer or engineer. And after a few albums, took flight on their own, mainly.
Peace,
Adam.
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None of them were studio experts in the beginning, that's why they relied on Mike Stone for most of it. Even for Made In Heaven they were assisted by David Richards.
The band's expertise consisted mostly of writing superb songs and singing/playing them brilliantly. The rest was left to the studio crew although they of course had some knowledge and knew exactly what they wanted.
The band's expertise consisted mostly of writing superb songs and singing/playing them brilliantly. The rest was left to the studio crew although they of course had some knowledge and knew exactly what they wanted.
They just knew what they could do in the studio and what was possible, but they weren't experts in the studio. And i'm sure they didn't know everything when they were recording ADATR and NOTW. I'm very curious why they asked Roy back for Jazz and worked with Mack later on. Did they get negative feedback for these albums? Or was it too hard for them to be in charge of the whole production thing. Because they never did their own production anymore after that. Just co-production....
They needed a producer from Jazz onwards because the actual genius behind the mixing was Mike Stone (Queen I - News Of The World). Note that Races's production is extraordinary, and it's without Roy, but not without Mike. Same for News.
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.
I think both Freddie and Brian knew in their heads what they wanted to achieve, but I don't think they had the ability to do that without producers and engineers helping, I suspect even today they will be requiring the help of others to do some of it, after all you never stop learning with something like this, there's always something you can try that you never have before.
But I am sure they will now have certain ways in which they like to work, I remember Brian rather pointedly commenting after Another World that it was nice to do the drums the way he liked them! whatever that meant?
But I am sure they will now have certain ways in which they like to work, I remember Brian rather pointedly commenting after Another World that it was nice to do the drums the way he liked them! whatever that meant?
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]They needed a producer from Jazz onwards because the actual genius behind the mixing was Mike Stone (Queen I - News Of The World). Note that Races's production is extraordinary, and it's without Roy, but not without Mike. Same for News.
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.[/QUOTE]
News of the World was the turning point for me, I never felt they had the production values on that album that they had got on earlier ones, not until Innuendo did they return to that level of perfection IMO.
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.[/QUOTE]
News of the World was the turning point for me, I never felt they had the production values on that album that they had got on earlier ones, not until Innuendo did they return to that level of perfection IMO.
I'd say on the whole yeah, Innuendo was a jump back up in sound - but I've never liked the drum sound. Especially not on "The Hitman".. sounds dodgy as hell.
I've found it comes and goes, IMO The Show Must Go On is every bit as good as anything Roger has recorded before, but I agree it's never been as nailed throughout the albums as it was in the first 5 or so.
[QUOTE][QUOTENAME]Togg wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]They needed a producer from Jazz onwards because the actual genius behind the mixing was Mike Stone (Queen I - News Of The World). Note that Races's production is extraordinary, and it's without Roy, but not without Mike. Same for News.
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.[/QUOTE]
News of the World was the turning point for me, I never felt they had the production values on that album that they had got on earlier ones, not until Innuendo did they return to that level of perfection IMO.[/QUOTE]
Agreed, but IIRC that was by choice, not by accident. I remember something about wanting to keep up with the energy of punk rock. Of course they gloriously succeeded with "All Dead, All Dead".....:-)
Another aspect was that the producer worked as referee, and since they decided to followed trends in 1979, they needed somebody expert in electronics.
Roger in particular relied on Mack and David Richards to assist him in all aspects of his songs, from actual songwriting up to synth parts and ornaments.
Of course Roy was important, and an excellent producer as well. His greatest strength was possibly the way he detected mistakes so accurately.[/QUOTE]
News of the World was the turning point for me, I never felt they had the production values on that album that they had got on earlier ones, not until Innuendo did they return to that level of perfection IMO.[/QUOTE]
Agreed, but IIRC that was by choice, not by accident. I remember something about wanting to keep up with the energy of punk rock. Of course they gloriously succeeded with "All Dead, All Dead".....:-)
> I think both Freddie and Brian knew in their heads what they wanted to achieve
So did Roger and John.
> but I don't think they had the ability to do that without producers and engineers helping
Exactly. It's like a film-maker doing all the general photography, the acting, the post-production, the score, etc. Some people may be more versatile and do three or four things (e.g. producing, directing, starring, composing), but at one point or another you've got to rely on somebody else. Mike Stone was the perfect man to translate the lads' ideas into tape.
> But I am sure they will now have certain ways in which they like to work, I remember Brian rather pointedly commenting after Another World that it was nice to do the drums the way he liked them! whatever that meant?
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.
So did Roger and John.
> but I don't think they had the ability to do that without producers and engineers helping
Exactly. It's like a film-maker doing all the general photography, the acting, the post-production, the score, etc. Some people may be more versatile and do three or four things (e.g. producing, directing, starring, composing), but at one point or another you've got to rely on somebody else. Mike Stone was the perfect man to translate the lads' ideas into tape.
> But I am sure they will now have certain ways in which they like to work, I remember Brian rather pointedly commenting after Another World that it was nice to do the drums the way he liked them! whatever that meant?
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]>
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.[/QUOTE]
Absolutely. After being in a studio for 8 hours straight, I stop hearing flaws that are otherwise very obvious and my judgement becomes questionable. No matter how gifted you are, it's always good to have an experienced pair of ears beside you.
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.[/QUOTE]
Absolutely. After being in a studio for 8 hours straight, I stop hearing flaws that are otherwise very obvious and my judgement becomes questionable. No matter how gifted you are, it's always good to have an experienced pair of ears beside you.
[QUOTE][QUOTENAME]Fireplace wrote: [/QUOTENAME][QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]>
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.[/QUOTE]
Absolutely. After being in a studio for 8 hours straight, I stop hearing flaws that are otherwise very obvious and my judgement becomes questionable. No matter how gifted you are, it's always good to have an experienced pair of ears beside you. [/QUOTE]
Here, here. A second opinion is always a good thing.
Adam.
Something important here is that another person may have a more objective and less obsessive perspective, thus they can help. Freddie was a superb producer (check Man From Manhattan), yet his own music usually was co-produced by Roy, Mack or David. Same with the others. Producers use other producers just like psychologists see other psychologists, lawyers get defended by other lawyers, and so on.[/QUOTE]
Absolutely. After being in a studio for 8 hours straight, I stop hearing flaws that are otherwise very obvious and my judgement becomes questionable. No matter how gifted you are, it's always good to have an experienced pair of ears beside you. [/QUOTE]
Here, here. A second opinion is always a good thing.
Adam.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Niek, did you really type it? If so, what a waste of time ... ever heard of copy n' paste?
As for the actual question, keep in mind that sometimes they depended on whatever was available in the studio. Roy's comments focus on the "main" ones, but of course it's nearly impossible to know exact specifications.
And by the way, there are no drum mistakes in Bo Rhap, although there's a timpani coming half a second late than it was supposed to.[/QUOTE]
yeah I did type it. (Except for most of the first part) Because there were some bits which weren't interesting for this topic.
Yeah Ofcourse they were dependend on what was in the studio. But most good studios have Neumanns and Sm58/57s.
About the timpani. Thats what I meant :)
As for the actual question, keep in mind that sometimes they depended on whatever was available in the studio. Roy's comments focus on the "main" ones, but of course it's nearly impossible to know exact specifications.
And by the way, there are no drum mistakes in Bo Rhap, although there's a timpani coming half a second late than it was supposed to.[/QUOTE]
yeah I did type it. (Except for most of the first part) Because there were some bits which weren't interesting for this topic.
Yeah Ofcourse they were dependend on what was in the studio. But most good studios have Neumanns and Sm58/57s.
About the timpani. Thats what I meant :)
The sad part of some of this is that Mike Stone is no longer around to be able to tell of his time with them. I have never read an interview with him, has anyone seen one?
During the eighties I was fortunate enough to be able to use the BBC studios in Glasgow for recording, taking over studio one and two sometimes for several days at a time. We recorded many hours of tape and during that time many different producers, engineers and sound buffs would come in, each adding there input to what was going on, it was fascinating just how much a small comment would effect the final production, in those days the BBC was filled with people who lived for their job and even on days off they would come in to help out and sit to discusses the latest technology. Sadly those days are gone due to internal politics, however it gave me a glimpse at what it might have been like to be working in those heady days of Bo Rap.
The two albums that really intrigue me are News Of The World and Jazz, in production terms they are so different they seem what do you think accounts for this? what did they do in recording the albums to get such a radically different sound? yet with effectively the same people, instruments and amps.
During the eighties I was fortunate enough to be able to use the BBC studios in Glasgow for recording, taking over studio one and two sometimes for several days at a time. We recorded many hours of tape and during that time many different producers, engineers and sound buffs would come in, each adding there input to what was going on, it was fascinating just how much a small comment would effect the final production, in those days the BBC was filled with people who lived for their job and even on days off they would come in to help out and sit to discusses the latest technology. Sadly those days are gone due to internal politics, however it gave me a glimpse at what it might have been like to be working in those heady days of Bo Rap.
The two albums that really intrigue me are News Of The World and Jazz, in production terms they are so different they seem what do you think accounts for this? what did they do in recording the albums to get such a radically different sound? yet with effectively the same people, instruments and amps.
No, but here's a nice interview with Gary Langan.
http://www.recordproduction.com/gary-langan.html
http://www.recordproduction.com/gary-langan.html