Mixing, Recording, and Producing Techniques of the Pros: Insights on Recording Audio for Music, Video, Film, and Games (Book)

418 Pages·2010·5.51 MB·english

by  Rick Clark

Mixing, Recording, and
Producing Techniques
of the Pros,
Second Edition
Rick Clark
Course Technology PTR
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Mixing, Recording, and Producing © 2011 Course Technology, a part of Cengage Learning.
Techniques of the Pros, Second Edition
Rick Clark
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Front cover images: Top row (left to right): Emmylou Harris, Cookie
Marenco and Jean-Claude Reynaud, Calexico’s John Convertino.
Bottom row (left to right): Calexico’s Paul Niehaus, Osaka Pearl’s
Danielle Tibedo, producer Jim Scott (photo by Jimmy Stratton).
Back cover images: Top to bottom: Producer Jim Dickinson (photo by
Tom Lonardo), producer Charlie Sexton and Clarence “Gatemouth”
Brown, producer Brian Ahern. (All photos by Rick Clark unless
Printed in the United States of America
otherwise noted.)
1 2 3 4 5 6 7 12 11 10
About the Author
Rick Clark grew up immersed in music in his home-
town of Memphis, Tennessee, a place where rock,
R&B, and blues were everywhere. His first records
were Sun Records 45s by Carl Perkins, Jerry Lee Lewis,
and Charlie Rich, as well as New Orleans Dixieland jazz by
Sweet Emma and Her Preservation Hall Jazz Band and raw
British Invasion albums by the Yardbirds and the Kinks.
Clark regards his first concert, James Brown and the
Famous Flames in 1966, as a life-changing event that
inspired him to pursue a life in music. By high school,
Clark was working in Memphis’s main record shop, Poplar
Tunes—a place where local artists such as Isaac Hayes and
Al Green would sometimes hang, as well as every self-respecting band from England
who made a pilgrimage there.
During the ’70s and onward, Clark played live and in sessions, including projects with
members of Big Star, Memphis Horns, and the seminal Memphis Power Pop scene.
Early on, Clark DJed his own radio show at WLYX-FM Memphis, and his enthusiasm
for creating great road music mix cassettes earned him a reputation as a go-to guy for
new and great sounds. He eventually started a successful business programming music
for every genre in venues throughout the South and other parts of the country.
Eventually, he wrote for numerous national publications, including Billboard, Mix,
Rolling Stone, Guitar Player, the All Music Guide, Goldmine, and others. Over time,
Clark began producing and compiling numerous major- and indie-label album releases,
as well as writing liner notes for artists ranging from Ricky Nelson, Dave Edmunds, and
Lynyrd Skynyrd to Leo Kottke, Jean-Luc Ponty, and Big Star. Clark also began working
as a curator, music consultant, and independent A&R rep with clients ranging from
museums, to magazines, to films and major label projects.
Clark’s production work includes working with Death Cab for Cutie (music for the
Band tribute album Lost Highwayand the hit TV show Weeds), the Killjoys, Osaka Pearl,
and Los Super Seven—an amalgam that included Calexico, Lyle Lovett, Delbert
McClinton, John Hiatt, Raul Malo, Freddy Fender, Rodney Crowell, and others. Clark
also produced 26 shows of Marty Stuart’s American Odysseyfor XM radio, directed two
videos on Emmylou Harris for Warner DVD-Audio, composed and produced music for
IBM’s International Global Net, and had his photography featured in gallery shows, on
record albums, and in ad campaigns.
Beginning in 1997, through a recommendation by the legendary producer Jim
Dickinson, Clark began work producing, co-compiling, and doing all the legal clearance
work for what would be the first seven volumes of the award-winning Oxford American
magazine music CDs, featuring music ranging from legendary artists such as Bob Dylan,
Randy Newman, and B.B. King to obscure blues, jazz, and Cajun music recordings.
As a film music supervisor, Clark’s credits include work on Jason Reitman’s Up in
the Air.
Jim Dickinson
November 21, 1941–August 15, 2009
Jim Dickinson was a great producer and musician, a selfless mentor, and
a devoted family man to his wife, Mary Lindsay, and his boys, Luther
and Cody. I watched him grow his own family band with his gifted sons,
who went on to become the North Mississippi Allstars. Jim and I grew
up in Memphis and, though a number of years apart, we went to the
same public school and had some of the same teachers. That said, one of
my finest teachers was Dickinson himself. He was a fiercely passionate
communicator and one of the greatest and funniest storytellers I’ve
known. When there was something troubling you deep down, Dickinson
was the cosmic "sin eater" who helped you get clarity. He loved
Memphis and the Mississippi Delta and deeply knew how the culture and
its tumultuous highs and lows were the lifeblood of the greatest music
and art. The day he passed away was one of the hardest I can remember.
I miss our long talks, his laughter, his thoughtfulness, and his generosity
of spirit. He was one of the most important people who taught me to
value where I came from and the importance of being true to your inner
voice. As a result, I can attribute some of the best things that have
happened to me in the last 20 years to Dickinson’s support. This book
is rooted in the spirit of mentoring, and Dickinson was one of the best.
It’s my hope that this collection offers you some of the enduring
blessings Dickinson provided me. Thanks, Jim!
Left column top to bottom: Jim Dickinson (photo by Tom Lonardo) / Jim Dickinson,
Studio B, Ardent, early 1970s (photo courtesy of Ardent Recording and John Fry), Jim
Dickinson (photo courtesy of Steve Roberts) / Luther Dickinson, Cody Dickinson, Jim
Dickinson (photo courtesy of Steve Roberts). Right column top to bottom: Ardent
founder, John Fry, and Jim Dickinson at the studio’s first commercial location on
National Avenue in Memphis (photo courtesy of Ardent Recording and John Fry) / Jim
Dickinson, John Eddy, John Hampton (photo courtesy of Ardent Recording and John
Fry) / Jim Dickinson (photo courtesy of Mary Lindsay Dickinson).
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi
1
Acoustic Ensemble Recording 3
Chuck Ainlay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Jerry Douglas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Mark O’Connor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Bil VornDick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Brent Truitt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2
Analog versus Digital 11
Tony Visconti. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Nick Launay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Jacquire King. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
3
Bass 19
Norbert Putnam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Jacquire King. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Leland Sklar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Jim Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Dylan Dresdow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
David Z (David Rivkin). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Sam Taylor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Eddy Offord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Jim Dickinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4
Brass 29
Ken Kessie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Greg Adams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Jeff Powell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Wayne Jackson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Ralph Sutton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Shelly Yakus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
vii
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5
Creative Production and Recording 37
Roy Thomas Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Eddie Delena. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Joe Hardy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Jacquire King. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Mark Freegard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Paul Grupp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
John Agnello . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Bob Kruzen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
John Hampton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Jeff Powell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Dylan Dresdow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Jim Dickinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
6
Cue Mixes 51
Brian Ahern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
John Guess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Jeff Powell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Clif Norrell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Terry Brown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
David Briggs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
7
Drum Teching 61
Steve Ebe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Pat Foley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Don Gehman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Robert Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Craig Krampf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Ronan Chris Murphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
8
Drums 69
Nick Launay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Nile Rodgers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Elliot Scheiner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Jim Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Ken Scott. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Ralph Sutton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Dave Bianco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
viii
CONTENTS
Dylan Dresdow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Jacquire King. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Russ Long . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Skidd Mills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
David Thoener. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Kenny Aronoff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Roger Hawkins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Peter Collins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
John Hampton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
9
Dynamic Signal Processing 97
Richard Dodd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Jim Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Michael Wagener. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Michael Brauer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Joe Hardy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Bruce Swedien. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Ken Kessie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
John Hampton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
10
Evolution, Where We Are, Looking Forward, Giving Back,
and Life Stuff 107
Wayne Kramer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Nathaniel Kunkel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Tony Shepperd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
The Tech Breakfast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
The Music Industry and Reinvention. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
David Kershenbaum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Richard Gibbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Rick Clark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
11
Field Recording and Film Sound 125
Christopher Boyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Ben Cheah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Dennis Hysom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Rodger Pardee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
ix
CONTENTS
12
Game Audio 135
Greg Allen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Jerry Berlongieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Mentoring: General Advice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
13 Guitar: Electric and Acoustic 147
Jim Scott . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Stephen Barncard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Russ Long . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Nick Launay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Dylan Dresdow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Ronan Chris Murphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Michael Wagener. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Skidd Mills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
David Z. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Adrian Belew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
John Jennings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
14
Keyboards 161
Tony Visconti. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Cookie Marenco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Leanne Ungar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Christopher Greenleaf. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
15
Live Engineering and Recording 173
Dave Morgan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
16
Mastering 181
Bob Ludwig. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
What to Supply to a Mastering Engineer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
The Evolution of Mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Andrew Mendelson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Greg Calbi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Twenty-First-Century Vinyl Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Cutting from Digital Masters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Cutting from Analog Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Gavin Lurssen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Jim DeMain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191