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Synth Wavez✮
My silly mans.. He is very silly and They’re a humanized equalizer.. how lovely 🎧
Stereo Review Magazine - October 1972.
Darrell Thorp on Brightness, Beck and Paul McCartney
https://www.youtube.com/watch?v=Y0ZsMuuM1jM&list=PLWEVfKcwQwTbk3D98O_B0q4EcfwM6wLxw&index=9
Darrell Thorp, Nigel’s former assistant and a formidable engineer in his own right, gave a fantastic, lengthy interview and he was asked about boosting higher frequencies during tracking and mixing. Here’s what he had to say:
“Brightness to me is two things: clarity and it's air. Air is making things sound wider. Air can make things sound like they have more imaging. Clarity is just the detail. The detail of a ‘T,’ a fingerpick. The clarity of a snare drum. And quite honestly, I learned a lot of this stuff from Nigel because he was...that guy could dig in some EQ. He wasn't afraid of it.”
He had a couple more interesting quotes about recording with Beck:
“To me, it's a lot to do with the drummer and the instrument that he plays. I made a couple records with Joey Waronker years ago and him producing a record and not playing on them, he showed me so many tips on tuning drums and how to get drums to sound really good when you put a microphone on it. Learning how to take what you have and make it a more precise instrument to record is the first step.
...Plus, a lot of the drum sounds you hear on my recordings are really dry. They're dead, they're in small rooms. [when asked why] That's a Nigel thing. Ever since I worked with Nigel, his drums are always dead. They're just in a booth. That's what he does.
Beck records, the drums are dead. There's no reverb on them whatsoever. That's the thing that people don't understand - the drums and the bass, the core rhythm section, is completely dead, dry, direct, in your face, punchy in your face and everything else is swirling around it.
There were a lot of reverb effects on, like, The Information. Just plates and things like that on the snare. Like "Dark Star" but that's rare.
[at tracking] When the artist comes in, I just want it to have as much life as possible - and clarity so people can really understand what it is that they're recording. What did we just do. Is it a good take? Is it a bad take? That has to go hand in hand with engineering.
With strings, I don't use more than fourteen pieces. Less is more. And maybe you can just double it if you're looking for a richer sound. Then it's just mic placement. At AIR Lyndhurst in London (church), they put up a Decca tree. And you push up three faders, pan it, get the level, check your phase and it's just there.
For a smaller section and a smaller room, I like doing both, where I'm using the rooms, if there's a Decca tree, but if there's not, it's usually just a stereo pair of M50s. And then from there I do more of a close micing as well. On the individual sections to get that more direct sound. It's case dependent. Are the strings playing very definitive parts or are they playing a nice pretty pad?
Sea Change, most of those strings are very direct sounding with chamber. But they're very, all the parts of that record, they're playing very specific "lead"-y lines. They're very much the lead instrument aside from the vocal.
I love Beck. He's my favorite songwriter. I didn't know what we were up to when we started Morning Phase...The songs are in raw form [at inception]. They're pretty much like the chordal structure of what the verse is going to be and what the chorus is going to be and he may have a melody line written. He usually has a melody line somewhat written already and/ or he's got maybe a lyric that goes along with it. But Beck is very much an inspired artist, he just comes with like a raw very very basic form of a song to the studio and he wants to hear it played by a band. Then the next thing, a couple hours later, he's got a song because he's fleshed out the chordal structure, he's got more of a melody going on in his head...Then from there, it's all about bells and whistles as far as basic overdubs and him singing and writing lyrics. [To cherrypick one strategy from Beck for younger artists] I think it would be the part of the confidence of going into the studio and making a record.
On Chaos and Creation in the Backyard:
Paul would walk in with a song and he and Nigel would go into the studio together and they'd sit down and hash out the arrangement. And then from there Paul would come in and we'd do like a traditional sort of click track or we'd make some kind of drum beat for paul to play to. And we'd start, like, the foundation, whether that'd be like the piano or a guitar or something, just to play to. Then we'd do drums as soon as we could to get the rhythmic foundation down. And then Paul would get the drum take nailed down and then from there it was all about...Nigel would be like, "Well I hear a Wurly or Paul would say, "Let's try a fuzz guitar,"...The only time it was like a traditional tracking session was when Joey (A Certain Softness) or James Gadson [At the Mercy]. Sitting down, learning the song, and "Okay guys, let's get the take."...The crazy thing about Paul is that he is a damn good musician. He really is. He picks it up and he plays everything and it's freaking cool when he plays it. It's not because he's Paul McCartney. It's because he's a good musician...Paul has that creative touch. His timing is impeccable. Not just his timing but his touch is impeccable. It's crazy.

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Equalizers III, Ink & Paper, 35 x 24.5 cm, 2017
Equalizers IV, Ink & Paper, 35 x 24.5 cm, 2017