Interesting stuff, pity he didn't speak more talk about his early Queen days, but I guess he was pretty much the tea boy then. His comments on getting it right first time in the studio were also very revealing, something that people don't do so much of these days as they rely on Pro-Tools and the like.
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It's so true about people and computers these days. I love my PC's for recording. But I would never do what the band I had in last year, did.
We would record the song live and until they got it just right, they kept going, take after take. I actually favoured the sound of earlier takes, but they wanted the perfect take.
The result? Not bad after their overdubs. But I wonder, at least, what it could've sounded like. But also, the technology is there to sit messing with autotuning the vocals, automatic replacement of drum hits, etc. Which they did on practically EVERY track. *tut tut*
I don't do it myself, cause I don't like it. Not sure why, maybe I believe in not tampering with what's recorded.
Anyway, I've heard Brian say in an interview about 1st takes encompassing a lot, while the ones that come after don't always improve much.
Adam.
We would record the song live and until they got it just right, they kept going, take after take. I actually favoured the sound of earlier takes, but they wanted the perfect take.
The result? Not bad after their overdubs. But I wonder, at least, what it could've sounded like. But also, the technology is there to sit messing with autotuning the vocals, automatic replacement of drum hits, etc. Which they did on practically EVERY track. *tut tut*
I don't do it myself, cause I don't like it. Not sure why, maybe I believe in not tampering with what's recorded.
Anyway, I've heard Brian say in an interview about 1st takes encompassing a lot, while the ones that come after don't always improve much.
Adam.
Well I think Brian has said Queen used to often do 5-6 takes at the backing before moving on, but often it's the early ones that have a certain feel, mind you he would then spend days and days working on snippets of a solo so I guess you have to make a compromise sometimes if you want to get it right. And there is no doubt in my mind that Pro-Tools and the like can make you lazy in terms of playing ability.
Adam our you working in a studio now?
Adam our you working in a studio now?
Afraid not. I'm starting to look for a place now. Just wondering how to break into them. Any advice engineer-type folks?!
Adam.
Adam.
Try the BBC, they will be the biggest employer in your area and nobody does training as well as they do.
If you have time, write to studios and ask if you can come and help in evenings (in you are not working) weekends for free, they will probably be happy to have help and you will get to hear about jobs going.
If you have time, write to studios and ask if you can come and help in evenings (in you are not working) weekends for free, they will probably be happy to have help and you will get to hear about jobs going.
Regarding production during News and Jazz:
News - They wanted a different sound, more truthful to their roots and simpler. So they did it that way.
Jazz - No more Mike Stone, and that's the big turning point. Moreover they were using very different studios (and outside the UK for the first time). Too bad there aren't many interviews about this album, I really really love it.
News - They wanted a different sound, more truthful to their roots and simpler. So they did it that way.
Jazz - No more Mike Stone, and that's the big turning point. Moreover they were using very different studios (and outside the UK for the first time). Too bad there aren't many interviews about this album, I really really love it.
Edit nvm.
[QUOTE][QUOTENAME]Sebastian wrote: [/QUOTENAME]Regarding production during News and Jazz:
News - They wanted a different sound, more truthful to their roots and simpler. So they did it that way.
Jazz - No more Mike Stone, and that's the big turning point. Moreover they were using very different studios (and outside the UK for the first time). Too bad there aren't many interviews about this album, I really really love it.[/QUOTE]
I must say I'd love to know what they did to capture those sounds, Jazz for instance, the drums have a very unique feel, I think a lot more close mic techniques were used together with more processing than before the sounds seem less 'round' if you know what I mean, they still have the ring and depth in many cases but somehow that roundness is not there, I've often wondered about the inside sleeve, how much of that was staged and how much was them actually at work in the studio, did Roger really use both kits?
News - They wanted a different sound, more truthful to their roots and simpler. So they did it that way.
Jazz - No more Mike Stone, and that's the big turning point. Moreover they were using very different studios (and outside the UK for the first time). Too bad there aren't many interviews about this album, I really really love it.[/QUOTE]
I must say I'd love to know what they did to capture those sounds, Jazz for instance, the drums have a very unique feel, I think a lot more close mic techniques were used together with more processing than before the sounds seem less 'round' if you know what I mean, they still have the ring and depth in many cases but somehow that roundness is not there, I've often wondered about the inside sleeve, how much of that was staged and how much was them actually at work in the studio, did Roger really use both kits?
For NOTW, I read interviews with both Freddie and Brian (in Circus magazine?) where the interviewer commented on the relative sparseness of that album compared to its predecessors. Both of them commented that they'd done the layered, heavily overdubbed thing as much as they could, and they were trying a different approach. It's funny, I find NOTW to be Queen's last "British" album. To me, Jazz is a very European album which may be relected in their move to Mountain Studios, and the Game is very Americanized, with Hot Space being a mix of American funk and the sparseness of Euro dance. I think this musical sea change affected the production sounds of each album.
Love or hate the gradual changes, one can't say it wasn't interesting!
[QUOTE][QUOTENAME]Zebonka12 wrote: [/QUOTENAME]Love or hate the gradual changes, one can't say it wasn't interesting![/QUOTE]
That's what made them so different and worthy of attention in my book. I sincerely hope they document how they will go about recording the new album, it will be interesting to see what direction, but I will be more interested in how they create the new Queen+PR sound!
That's what made them so different and worthy of attention in my book. I sincerely hope they document how they will go about recording the new album, it will be interesting to see what direction, but I will be more interested in how they create the new Queen+PR sound!
Very interesting thread. It is sooo true what you are telling about being too much time at the studio and getting tired and easily confused. I remember working with a friend in audio/video synchronization and after several hours spent in the studio I suddenly find her staring at me, mouth wide open but absolutely speechless. I asked her what the heck happened and she answered that she was hearing my speaking out-of-synch!!! Just imagine the quality of the work we were performing... Needless to say, we had to re-synchronize everything the next morning, after some sleep.
btt
I don't understand that btt YV?
maybe means back to top