and began to mutate into what you hear on the record.
anthony performed a whole new part with loops, and some sort of weird old recording of a cowboy lady singing. so we went back to the studio.took all the drums, threw 'em out. you see, warren had heard all this cool, trippy stuff that anthony does so well.and we guessed that that was what he might have liked. i remember i was sitting in my car when anthony called me and said he wasn't sure, either. we were about to send it off to see if they liked it.but i wasn't so sure it was the right thing. it sounded like an 80's band doing a live version of 911 is a joke. We went ahead and mixed the track (took 3 days).and when we were done. on top of it.it appeared to be missing a few tracks. all we had to go on was the other mix.and it was distractingly distorted. extra takes of vocals, guitars, you name it.no idea which ones were right. When the 2" reels arrived, they were a disaster. i believe steve ferrone played drums on this cut originally. completely distorted and peak limited.and sounded really 80's. I can't remember who did the original mix.but the mix we heard (alledgedly finished) was hideous. we secured the studio time (also for free) at sound techniques and went in to mix the remake of "911 is a joke." at that point, anthony called me and asked me if would be interested in working on this job.it was, sort of, a test job for a duran album.
#Duran duran message board free
i can't say what amount of time transpired, but warren called anthony and asked if he could mix a song (for free or "spec") on a record duran was working on.
anthony put his business card in the dat case, and sent it off to london. well ajr had a few loops and grooves he was working on for dale, and warren was going to write some music around it. resta was working with dale bozzio (missing persons) and dale kept telling him he should hook up with warren. I came to the duran duran job in a most peculiar way. Medazzleland was recorded at metropolis in london, as well as at warren's house just down the street. I didn't record either of these records."thank you" was recorded just about all over the place.i think the original concept was that these songs would be b-sides or whatever.then it appears it blossomed into an album. Sorry it took me so long to get to this thread.life is busy
I get the impression that he keeps a close eye on the production side.was that the case.ĭid Warren use his Steinberger for the whole album? Were his guitar fx recorded with the guitar or added at mixdown did he take an interest in it all or were any session guys used to augment what he had done. How much work did Nick Rhodes do in terms of the use of keyboard, i.e. What kind of stuff was being done in mastering back then (I suppose it wasn't that long ago.) The mic(s), recording chain, whether harmonizers were employed (either for fattening/harmonies/tuning), did he typically double-track his vocals, how many takes, was he a whole verse/song or line by line kind of guy, y'know the usual stuffįrom your previous post it would appear that they were digital recordings, were they mixed to digital / analogue or both? Perhaps we could start with Simon Le 'Bond' heh So, Bob, for those two Duran albums could you tell us more please? So as not to divert the Extreme thread any further and following Bob St John's kind offer to start this thread himself, the least I can do is to do it for him.
0 kommentar(er)
