The multi-Grammy winner talks about tracking Stevie Ray Vaughan, pulling the plug on a Santana TV appearance and the reason band democracy is a disaster.
Art of Sound Series
In our Art of Sound interviews we talk to leading recording studio pros about the ways in which they capture the great artists' sounds. From miking techniques to ProTools tweaks to compression strategies, we grill these experts about the methods that give their recordings a professional edge. Its not just about the audio gear either. We talk to record producers and audio engineers about the ways in which they collaborate with their high-profile clients to make extraordinary recordings and help shape career-definiing songs. We dig deep to get at the audio production skills you can use in your own home or project studio to give your recordings the sounds that will make and captivate fans.
Photo: Rachel Kumar
Kid Andersen calls his studio Greaseland, and that offers a couple of clues about both him and his musical persuasions. Andersen revels in the greasy vibe of old-school Southern blues and soul music and possesses a rapid and wry sense of humor that he uses to good effect in keeping things playful during tracking sessions.
By Barry M Rivman
The key to a long career in music is versatility, and nothing enables versatility like a music education—especially these days when a producer has to wear so many hats (unless you’re Slash, in which case just a top hat will do). With a roster of artists as diverse as his musical taste, Rick Beato is living proof that a jazz- and classically trained musician can rock with the best of them. A graduate of the prestigious New England Conservatory of Music, Rick found himself in Atlanta in the ’90s, where he formed the innovative hard-rock band, Billionaire. While recording their major-label debut, Rick became enamored with the process of recording and turned his attention to the other side of the glass.
With his mile-long roster of A-list artist credits and decades spent developing a studio tan, Tom talks about the factors that make for great sound in the studio and onstage.
By Barry M Rivman
There was a time when those who were aspiring to be in the music industry were advised to decide which side of the control room glass they wanted to be on—recording artist or recording engineer—because it took an equal amount of time and effort to become one or the other. In essence, musicians were told that becoming a recording engineer was not an inside track to becoming a recording artist, and conversely, being an engineer was not a way to break into the music business as an artist.