Самые знаменитые продюсеры

Simon Значит живёт его дело....)))))))

http://queenonline.ru/modules.php?name=Forums&file=viewtopic&t=415
Если вам интересен Рой Томас Бейкер

Героев надо знать в лицо

Здесь материал о продюсере Ринго Марке Хадсоне
http://mixonline.com/recording/interviews/audio_producer_mark_hudson/

Послесловие великого Роя Томаса Бейкера к альбому One Way Ticket To Hell... And Back. Потрясающий альбому, который был сильно недооценён публикой.

Mix will leave the “paranoia,” “breakdowns” and “sackings” to the tabloids, but we definitely want to know more about the “endless studio sessions.” The man in the know is Roy Thomas Baker, the legendary producer behind pioneering albums by Queen, The Cars, Journey, Foreigner, Devo and many, many more.

Baker's name, meanwhile, will forever be associated with Queen albums such as Queen II and Night at the Opera, which contained the track “Bohemian Rhapsody,” the band's ode to rock 'n' roll bombast, and was filled to the brim with overdubs. It was the highpoint of what Baker calls his “kitchen sink production time: Any idea that we had, we just threw it on.” It looks as if Baker has revived his kitchen sink production approach with The Darkness. And how.

On the phone from his studio near Lake Havasu, Ariz., Baker frequently roars with laughter as he describes the Spinal Tap — like excesses that went into the creation of One Way Ticket to Hell…And Back. They include 50-odd guitars in the control room (“Don't touch 'em, don't even point at 'em!”), up to 160 guitar overdubs per song and a similar number of vocal overdubs, orchestras, bagpipes, a sitar and, yes, a pan flute. Everything ended up on 400 reels of 24-track tape, and some songs expanded to 1,000 (!) tracks before they were whittled down to 72 tracks for final mixing. It truly boggles the mind and begs for the truth, the whole truth and nothing but the truth.

Pre-production for One Way Ticket to Hell…And Back began in earnest in October 2004, when Baker flew over to the UK to work with the band. “They are pretty unique songwriters, and they churn out a song a minute,” recalls Baker. “We had what seemed like thousands of songs. The whole purpose for me as a producer in being there was to work out what the best parts were and help evolve them. We were working arrangements out as we went along, and ended up with very clear ideas of the kind of arrangements that we wanted.”

In the beginning of 2005, Baker and band moved to Rockfield Studios in Wales, where the producer had cut “Bohemian Rhapsody.” The Darkness hired both studios for the first half of 2005, and for several months, Baker had the band over a barrel, recording the backing tracks — mostly drums, bass and rhythm guitars — in endless different configurations and locations, all to get the densely, subtly and richly textured sound he was after.

The story goes that you had as many as 120 overdubs in some songs.
Oh, of course, there were at least 120 guitar parts in many of the songs! Dan [Hawkins, the band's rhythm guitarist] has a lot of different guitars, and so we went, “Okay, the first half of this verse sounds good on this guitar, but why don't we change to a different guitar in the second half and then go back to the first guitar for the chorus,” but in a different tuning, or with different strings, or a different amplifier, or a different microphone and so on. By the time we multitracked all those, we ended up with up to 160 guitar parts on a good deal of the songs. If you listen closely, one set of guitars will come in and then a totally different set of guitars and then yet another set of guitars. In some places, there may be a bunch of guitars that comes in for just two seconds.


Producer Roy Thomas Baker, the man behind the “endless studio sessions,” has worked on numerous rock records.
photo: Jim Steinfeldt

That sounds like a massive amount of work. How did you keep that in focus when working with the guitarist?
I like to have the guitarist and all his guitars and his amplifiers in the control room so the guitars are all at the same temperature and you never spend half an hour waiting for a guitar to stabilize and remain in tune. I also can have complete communication with the guitarist all the time. With the sound coming back from the monitors, you instantly know whether you have the right sound or not.

Dan had between 40 and 50 guitars in the control room during this stage of the recording. The amp heads are all in the control room because it's far better to push a signal than to pull it; running a short lead from the guitar to the guitar amp is better than running a long lead from control room to studio. We had the speaker cabinets outside the control room, wired in such a way that we could connect any amp head to any cabinet — each lead was marked and also had all the cabinets in different rooms. The microphones could be everywhere — hung from the ceiling, lying on the floor and so on — but we often had dynamic mics for close-up and antique tube-like mics for ambient. The microphones themselves were of every conceivable vintage and make, and we had everything ready to record via a preamp of our choice.

After the Rockfield period you went to Whitfield Street Studios in London. What did you do there?
Justin [Hawkins'] lead guitar and vocals, keyboards — not many people know that he's one of the world's best keyboard players — and the bagpipes. During the vocal recording, Justin was in the recording area, just behind the glass. We used the full ambience of the studio itself, and I put a whole slew of microphones around him — he looked a little bit like the president does during a press conference! All the mics went to the Neve mic pre's, which have a great sound.

Because I could have the mic pre's next to where Justin was singing, the signals were pushed into the control room, which gives a much better S/N ratio. We might use one or two or six microphones at all sorts of different levels, EQ settings and so on to get the right vocal sound for a part of a given song. Sometimes, each line of each verse would have a different sound. I would also run his voice through a compressor, like a Fairchild or, something I particularly like, a Tube-Tech compressor going into a Tube-Tech EQ. On a track like “Blind Man,” we could have 160 vocal overdubs, with me changing the sound of every part, especially the low ones. All this may sound a bit complicated, but it ended up being excessively slick. Obviously, his voice would sometimes get tired and then he would go on to playing keyboards or guitar.

You also recorded an orchestra at Capitol Studios in Los Angeles on 50-odd tracks. How much material did you end up with?
Oh, I filled about 400 reels of 24-track tape. We must have used the world's entire supply of tape at the time! We were trying to get a hold of more tape because we were wiping tapes that we had already used to make space for new overdubs. We had bunches of slaves. We might have a whole slew of guitars on one slave and then submix those to two tracks on another slave and carry on overdubbing onto that one. We were always submixing and bouncing backward and forward. It was very, very time-consuming.

How on earth did you organize all that material?
We were making a massive-sounding type of record. We were going for a huge, huge production sound; hence, all the overdubs. But we did not want to make a retro record. We wanted to get the best of both worlds, of old and new. I wanted to make a modern record. Since the aim was to go for the big, hybrid sound, we used analog 24-track to record on and then transferred everything to Pro Tools|HD and did our editing in there. I like utilizing the best aspects of both.
It sounds like doing everything in Pro Tools from the start would have made life much easier for you.
Analog gives you a nice, full texture that you cannot get any other way. When recording on analog, I make sure that the levels are at full tilt and the red lights are flashing. I press it exceptionally hard. For this reason, I don't need to use Dolby. We align the tapes so that everything is just on the verge of distorting, and the tape acts like a giant compressor. It's why I don't like to use outboard compressors during the recording stage because you stop the sound of tape compression from happening.
You mixed at the The Village in Los Angeles. Why?
I know the studio inside out and I really like mixing on their Neve 88R. I felt it was good to mix on something that's discrete — I'm a big fan of Neve. We did a lot of sub-bouncing inside of Pro Tools before mixing. Some tracks had loads and loads of guitars and vocals, and we'd end up with 1,000 tracks otherwise. That's impossible, so we got everything down to 72 tracks. We then set Pro Tools up with the Neve 88R and started mixing. I don't like mixing inside of Pro Tools because it feels a bit Mickey Mouse to me when you need a cursor to push up and down faders and so on.
Can you describe the mixing process?
For me, mixing is mainly balancing and giving the final tweaks sound-wise. Since I don't add much compression during recording, I may add compression. I'll be using old and new stuff during mixing, like Fairchild, Summit or Tube-Tech. Instead of sticking a Lexicon on the vocals, I used natural echo: echo chambers, plates or slap tape echo. And we mixed the album to half-inch analog on an Ampex 2-track and also back into Pro Tools as a comparison. We listened to both and found that the analog had a nice, big, saturated bass sound, while the digital had a really nice crispy top end. We ended up using the analog mix for mastering, adding some treble to make it sound as sparkling at the top end as the digital did.
Again, about the excessive amount of material that you amassed: How did you keep a clear head over what's good and what's bad?
You have to be mentally organized and make very good notes of everything you do. There were recording engineers who made sure that it all got to tape and who did the transfers to Pro Tools, which was also a task. But for me, there's no risk of not seeing the trees for the wood. It's totally the opposite. You get focused on what you think is appropriate for a song, and then you tune into different microphones and preamps and EQs and so on.
You have to know what your goal is. The band and I had discussed beforehand what we planned to do, and we mapped it out before we went into the studio. Of course it changes; it always changes. In the studio, you're running 100 percent on instinct, and you sometimes end up with something that's a lot better than you had planned. But the structure of every song on the album is exactly the way it was planned out to be. We had a vision of how the record was going to pan out, and we stuck to that vision, unless happy accidents happened. And I think we pulled it off.

"Полковник" Тои Паркер. Не будь его, Элвис не стал бы тем, кем мы сейчас его знаем.
Джефф Линн - "Travelin' Wilburys", "Cloude 9" Джорджа Харрисона, "Rock On!" Шеннона и т. д.
Шелби Синглтон - вернул миру Джерри Ли Льюиса в 1963 году.
Рой Акуфф - культовое имя в музыке кантри, раскручивал в разные времена Хэнка Виллиамса и Эдди Арнольда.

Полковник не был продюсером. Он был менеджер. Фелтон Джарвис - имхо один из лучших его (Элвиса) продюсеров

Хочу взять обратно свои некоторые пренебрежительные замечания касательно Фила Спектора - ибо переслушал недавно 'Plastic Ono Band' и 'Imagine' Леннона. Это просто потрясающе! Просто раньше многое недоходило. Instant Karma - тоже потрясающе. И еще отмечу, что альбом 'Billion Dollar Babies' Элиса Купера - не самая удачная работа Боба Эзрина. Самый неудачный трек - это 'Elected' он многим фэнам ненравится. Вообразите себе, что в этой песне Нил Смит играл замечательную партию ударных, а её почти не слышно! Как и бас-гитару! И думаю я: блин! вот если бы Спектор продюсировал этот трек!

К продюсированию готов! (фото увеличивается при нажатии)

Warning: ширинку и кроссовки не критиковать - это концепция.

Журнал FHM спросил у Ивана

- Когда последний раз тебе было страшно за свою жизнь?
- Страшно не было, - ответил Шаповалов, - смешно, смешно было.. за свою смерть.

Various - Groovin:The Genius Of Arif Mardin (2CD)
Out now

Disc 1
Groovin' - The Young Rascals
Son Of A Preacher Man - Dusty Springfield
Rainy Night In Georgia- Brook Benton
Until You Come Back To Me (That's What I'm Gonna Do) - Aretha Franklin
Do Right Woman - Cher
Feelin' Alright - Lulu
Angel From Montgomery - John Prine
Only Love Can Break Your Heart - Jackie DeShannon
(Is Anybody Going To) San Antone - Doug Sahm and His Band
Whiskey River - Willie Nelson
Good Time Charlie's Got The Blues - Danny O'Keefe
A Song For You - Donny Hathaway
Love On A Rainy Day - Arif Mardin
Up On The Roof - Laura Nyro
My Love - Margi Joseph
Send In The Clowns - Judy Collins

Disc 2
Jive Talkin' Bee Gees
Average White Band - Pick Up The Pieces
You Belong To Me - Carly Simon
She's Gone - Hall And Oates
Love All The Hurt Away - Donny Hathaway/Aretha Franklin
I'm Every Woman - Chaka Khan
Lady Love Me - George Benson
Wood Beez - Scritti Politti
Move Away - Culture Club
waitng For A Star To Fall - Boy Meets Girl
Against All Odds - Phil Collins
Wind Beneath My Wings - Bette Midler
Hard Times - Eric Clapton
Speak Low - Michael Crawford
Come Away With Me - Norah Jones

MAKING RECORDS: THE SCENES BEHIND THE MUSIC (Hardcover)
by Phil Ramone (Author), Charles L. Granata (Author)

From Publishers Weekly
Ramone, with 14 Grammys to his name, is the consummate Establishment producer. His clean professionalism has brought a touch of class to a wealth of baby boomer landmarks, from Paul Simon's Still Crazy After All These Years to Billy Joel's The Stranger and Ray Charles's Genius Loves Company. Over the course of his memoir, Ramone constantly drops these names and more, often veering into a string of anecdotes to illustrate a point. One page about artists' working methods, for example, includes mention of Frank Sinatra; Bob Dylan; Peter, Paul, and Mary; and Barbara Streisand, with little distinction made as to quality or genre. This makes for a readable but repetitive book. The conversational style means that certain artists are brought up again and again, and sometimes the book relies upon long block quotes from musicians that would have benefited from being pared down to their relevant lines (such as one in which Liberty DeVitto of Billy Joel's band talks about changing the rhythm of Always a Woman to Me). Amid all of this, there are genuinely interesting stories, and fans of Sinatra, Simon and Dylan should find pleasure in the long in-studio narratives. (Oct.)

Book Description
Sinatra. Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do these musicians have in common besides their super-stardom? They have all worked with legendary music producer Phil Ramone.
For almost five decades, Phil Ramone has been a force in the music industry. He has produced records and collaborated with almost every major talent in the business. There is a craft to making records, and Phil has spent his life mastering it. For the first time ever, he shares the secrets of his trade.

Making Records is a fascinating look "behind the glass" of a recording studio. From Phil’s exhilarating early days recording jazz and commercial jingles at A&R, to his first studio, and eventual legendary producer status, Phil allows you to sit in on the sessions that created some of the most memorable music of the 20th century -- including Frank Sinatra’s Duets album, Bob Dylan’s Blood on the Tracks, Ray Charles’s Genius Loves Company and Paul Simon’s Still Crazy After All These Years.

In addition to being a ringside seat for contemporary popular music history, Making Records is an unprecedented tutorial on the magic behind what music producers and engineers do. In these pages, Phil offers a rare peek inside the way music is made . . . illuminating the creative thought processes behind some of the most influential sessions in music history.

This is a book about the art that is making records -- the way it began, the way it is now, and everything in between.

Product Details
Hardcover: 336 pages
Publisher: Hyperion (October 2, 2007)

Джо Мик. Списибо илюхе ;)

Гарринча, фотка классная!
Если бы ещё куча подобных плёнок была издана, а не пылилась в частном владении...

Привет )
Джо Мик - продюсер-новатор. Его домашняя студия располагалась на Холловэй роуд 304 на 3 этажах.

Rob Schnapf.

В его послужном списке два первых альбома The Vines, CD 'De Nova' группы The Redwalls, Beck, Elliott Smith, группы Saves The Day и The Whigs, микширование песен Foo Fighters и много других славных дел. К саундтреку I Am Sam он тоже руку приложил.

http://www.artistdirect.com/nad/music/artist/credits/0,,490162,00.html

Don Was & The Glimmer Twins

Джимми Миллер, хорош еще и как ударник:)

Frznk Zappa. Самый новаторский продюсер.